The Feed-Back

Among the manifold musical innovations occured in recent years, one of the trends both

in Europe and in USA is to set up ensemble devoted to improvisation.

These bands show similarities in their rich expressions, but could nonetheless be

pigeonholed in two great families: one directly coming from the Jazz tradition and one of

a more intellectual kind, connected with contemporary Classical music.

These trends had been deeply analysed by "The Feed-Back" whose bold approach to

music, more linked with current tendencies, placed them at the forefront of the Beat

scene.

The name of the ensemble, "The Feed-Back", is noteworthy: a word coming from the

cutting edge science of cybernetics communicates to the public the idea of a

contemporary reality, almost physical in its essence.

A feed-back is a device that enables an effect to counteract on its causes, achieving this

way a given goal, as our body does when it regulates automatically our actions according

to their ends.

This mechanism underlies the improvisation – a special circuit whose action adjusts and

fine-tunes the energy of each single musician in relation to the others.

The mechanism of feed-back transcends the inner dynamics of improvisation and aims to

extend its action to the listeners, enabling another feed-back circuit, now between the

band and the public.

This purpose is sought hrough unusual and disrupting stimulations such as the loss of

traditional melodic lines, the introduction of noise in the musical discourse and a

deconstructive approach which reduces vocals to the essence leaving only a few basic

rhythmic elements as a blueprint that still characterises this music as Beat. Within this

avantgarde context the band feels at ease thanks to its innovating spirit and is projected

in a fertile future.

For now they invite us to listen to evocative titles like "The Feed-Back", "Kumâlo" and

"Quasars" – aptly chosen for a public ready to discover them, a public capable to

understand how this band overcame current musical structures like Psychedelic music or

Undergroundʼs timorous attempts with a sound closer to our times that we could name

"Upperground"

FRANCO EVANGELISTI