Artist: Non Credo
Label: Musea
Release: 2006
Rating: 4.5/5
After the exceptional album Happy Wretched Family, the Los Angeles duo Non Credo, made up of Joseph Berardi and Kira Vollman, are back on the music scene. It took more than ten years for the new record to see the light of day. So the question is: was it worth the wait? If I’d answered after the first listen, I’d probably have said no, but now the answer is completely different. Throw out all your expectations and preconceived musical ideas, because Joseph and Kira are going to smash them to pieces. Even those of you who already know the band will probably be surprised by what you hear, maybe even disappointed. But don’t give up, just stick with it and you’ll be rewarded in the end. Sure, Joseph Berardi has sadly dropped his drumming skills completely for this one, and there’s practically no guitar either, which alone makes the record unconventional, but the album has an incredible depth that reveals itself over multiple listens, and only the best are capable of that.
This time the duo went for a pretty different approach than on Happy Wretched Family. There are fewer rock parts, and there are actually no drums at all anymore, just assorted little bits of percussion that can’t replace a drum kit. Kira Vollman gets to shine even more this time. Her vocal acrobatics are wilder and more unpredictable than ever. There are fewer clean melodies and more experiments. Fans of Christian Vander and his screaming, and of Dagmar Krause (Art Bears), will get their fill again. Besides the vocal lunacy, she also uses her clear operatic voice a lot, which, together with the classical keyboards and the woodwinds, sounds downright classical at times. This duo could easily put out a classical album too. Even if I miss the rock moments, there are still plenty of avant-garde parts, on both keyboards and vocals, so there’s no danger they’ve drifted into purely classical waters (though you could already tell from the comments about the screaming, which you don’t exactly hear much in classical music). It’s true there are no rock moments, but you get used to that over time and take the music as it is. You can see its beauty and its virtues, which are different from Happy Wretched Family, but no less impressive for it.
Just like on Happy Wretched Family, the lyrics matter again this time. With her word wizardry, Kira Vollman really knows how to conjure up exceptional atmospheres. She plays with words brilliantly and builds a dark world that’s sometimes turned upside down. Her lyrics can be a little sick and creepy at times, but that’s all part of the shared catharsis the duo offers in the combined context of music and words. Kira also occasionally speaks in a downright seductive voice with the accent of some Southern belle, and the contrast between her alluring voice and the horrors she sometimes utters is hugely convincing.
This latest Non Credo album (so far) may be less accessible than its predecessors, but it hides plenty of charms, quite different from the duo’s past adventures. At first the record struck me as a bit too un-rock, too classical and too avant-garde, but once you break through that mental wall that stops you from discovering such different music, it gets easier. Even people who love listening to experimental music sometimes have a preset idea in their heads of what kind of experimental music they want to hear. That was me too. Impropera didn’t fall into a category that clearly suited me. Luckily, though, I didn’t give in to my prejudices (this time) and let the music sneak into my heart. I have no regrets, because Impropera is a wonderful album, one that with its experimental parts might scare some people off, or convince others after a few minutes that this isn’t music but noise. But if you love experimental music, I suggest you put in the effort, because you’ll be richly rewarded in the end. And if you prefer music that flows more easily, I wouldn’t recommend this album.
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After the brilliant Happy Wretched Family, Non Credo, a duo from Los Angeles, made up of Joseph Berardi and Kira Vollman, returns to the scene of the crime with a new album. It took them more than ten years for this album to see the light of day. So, the obvious question is: Was it worth the wait? If I had answered after hearing Impropera for the first time, my answer would be no, but now I feel completely different. Let go of all your expectations and musical preconceptions because Joseph and Kira will destroy them. People who know the band might also be surprised by the music, or even disappointed, but do not despair, your efforts will be rewarded. It is true that Joseph Berardi unfortunately completely disregarded the drum kit for this effort and the guitar is almost non-existent as well. The record is already unconventional because of this, but the album hides amazing depths that can only come to the fore after several listenings. Only the best musicians are able to conjure up something like this.
This time, the pair decided on a radically different approach than on Happy Wretched Family. The rocking parts are almost completely gone and so are the drums. Kira does use some percussion, but this cannot replace a drum kit. Kira’s voice is therefore even more exposed. Her vocal acrobatics are even crazier and more unpredictable. There are even fewer pure melodies and there is more experimenting. Lovers of Christian Vander’s screeches and of Dagmar Krause’s style will most certainly enjoy this. Besides the vocal havoc, Kira also uses her crystal clear operatic voice, which, combined with the keyboards, makes the music sound almost completely classical at times. If the rock moments are missing, the avant-garde elements are still thick and fast, both when it comes to the keyboards and the vocals. Despite the absence of rocking moments, there is plenty going on with Kira’s beautiful operatic voice, the classical keyboards and the avant-garde segments. Eventually, you get used to how different the music is and accept it for what it is. Its beauty and virtues, although different to Happy Wretched Family but equally as impressive, come shining through.
Just like on Happy Wretched Family, the lyrics are important here as well. Kira Vollman knows how to weave some magic with the words she uses and is able to create some outstanding atmospheres. She is able to create a dark world that sometimes seems turned upside down. Her lyrics can be a bit twisted and frightening at times, but that is all a part of the catharsis that the lyrics combined with the music are able to generate. Kira also occasionally uses a seductive Southern belle accent and the contrast between some of the monstrosities she utters and the attractive voice is highly convincing.
This album by Non Credo may not be as easily accessible as its predecessor, but there is a great deal of charm in the music. The qualities are simply a bit different than on the previous efforts of this pair. At first, the record seemed a bit too classical and avant-garde and I thought it was sorely missing the rock element, but on subsequent listenings, once you get past that mental barrier which disables you from discovering music that is so different, it becomes easier. Even people who are into experimental music have preconceptions as to what experimental music should sound like. It was like that with me. Impropera didn’t fit into that category which would specifically suit me. But luckily, I got past my prejudice and let the music crawl under my skin and into my soul. This was very fortunate because Impropera is a glorious album, which could easily frighten people away after only a few minutes with its heavy doses of experimenting. If you like experimental music, I urge you to make an effort with this album because you will reap the rewards later on.
Line-up
Joseph Berardi – keyboards, samples
Kira Vollman – vocals, bass clarinet, percussion
Production
Non Credo
Tracklist
1. Prima Punta
2. 8 Bit Whore
3. Hubris and Greed
4. Bella Donna
5. Trouser Role
6. Faux Afro
7. Deep, Deep Down
8. Via Nino
9. Heaven Help Us
10. Interval One
11. Sicka Siam
12. Stock and Trade
13. Sleeping Beauty
14. Odor of Sanctity
15. Interval Two
16. Faux Cazzo
17. Laptop Dance
18. Vienna Fingers
19. Epilogue
