This album actually seems to predate the 1975 release date on the first album, having a release year of 1971 on the sleeve.

Anyway, this album is beautiful. Unlike 1975, which was an assemblage of strange recordings of typewriters, doors opening and shutting, coals being raked, etc., all woven into great melodic musique concrete, this album from 1971 is almost all acoustic guitars. Dante Deodato and Giovanni Vanzetti must have been into the world folk movement, or the Italian equivalent of Nick Drake. And, maybe you can tell by the picture of a doe-eyed woman on the back cover, the band seems to have been in a more romantic and less industrial state of mind.

I'm not sure if there were albums between 1971 and 1975. I would assume so, because there's such a great leap in sound between the two. 1971 sounds like 1975 for the first 30 seconds. but then it changes completely. They're obviously using tape loops ala The Beatles "Tomorrow Never Knows," only in a really advanced way. The music tends to sound a little quaint at times, which is no doubt a product of that year's youth culture stance, but it never ceases to be innovative. Even the inner picture of the duo in bad early 70s turtlenecks, fresh from university steps, seems a bit naïve.

One observation I made on first listen was that the songs didn't have much melody. It's almost all composed of thick chords and that happy / sad atmosphere. Also, unlike 1975, both cuts are very similar. As before, they've got 2 untitled 20-minute songs per each side of the album. On 1975, the first song was constantly evolving and overlapping its transitions; the second song was more like white noise. On 1971, the band still has 2 untitled 20-minute songs, but there are defined transitions and both songs are very much the same in tone. It could be one continuous song if albums didn't have to be flipped. Maybe they planned it this way, to be one song. We'll never know (or will we?)

Overall, the recording is better. It helped that the record uncovered was in great condition. The vinyl had been played, but someone had been thoughtful enough to keep the dust jacket. Therefore, the artwork had only a few creases and the circular indent for the record; it didn't require a total reconstruction, as with 1975. There were some pops and static on the vinyl but that, too, was bearable. Some things are muddier than others, but that could have been the original recording.

So, where is Matt Hart's involvement in this re-issue? He was a big part of the first album. Sadly, his touring schedule in support of the new Squirtgun record precluded his involvement. The re-issue has his blessing, though, and maybe if more are found, we'll get him back behind the scenes.

Thanks again to Starfish L.E. for the re-issue. We all feel that this band is important and should have had more recognition. Plus, we want to find these guys for a tour.

Right. Tour. Ha ha.