The Fibonaccis
Прожектор
2023
- Sex
- мужской
- Messages
- 17,479
- Joined
- Oct 26, 2007
- Reaction score
- 25,381
http://www.myspace.com/fibonaccis
http://www.fibonaccis.com
http://en.wikipedia.org/wiki/Fibonaccis
Imagine if you will, 4 very unique individuals whose collective fascinations include Fellini movies (and their Nino Rota soundtracks), circus music, poetry, biting humor and satire, Kabuki cabaret, Bernard Hermann film scores, assorted geniuses and sociopaths, various struck metallic objects, pop culture at large and Civilization and Its Discotheques, and you can begin to get an idea of what drove The Fibonaccis.
Back in the fashion obsessed 1980's (when bad hair, cheesy synth driven music and trendy superficiality were the natural order of things), four brave souls dared to challenge the cultural status quo of their native LA and beyond. Taking their name from an Italian mathematician (Leonardo Fibonacci) from the 14th Century who had a jones for number sequences, The Fibonaccis pulled together the above mentioned elements and began their conquest. The lineup was:
Magie Song: Lead vocals, Theatrics, Percussion, Dancing
John Dentino: Piano, Synths, Casio Keyboard, Mellotron, Vocoder
Joe Berardi: Drums, Percussion, Vibes, Various Metals, Fake Electric Cello made from a cheap old electric guitar.
Ron Stringer: Guitar, Some Bass, Angular Dissonance
The resulting sound of this daring foursome to my ears was a tempestuous mix of progressive rock, film soundtracks, waltzes and circus music, Talking Heads-like funkiness, spaghetti westerns, Zappa-esque biting humor and may other exotic musical colors. This definitely was not Flock of Seagulls, Frankie and the Knockouts or whatever cheesy 80's band comes to mind. It aimed straight for the gray matter, and you could dance to it as well (In fact, Magie STRONGLY encouraged the audience at their live shows to do just that)!
Flying in the face of what was critically and commercially acceptable (anything with more than 3 chords, complex rhythms and intelligent lyrics was violently disdained back then by the so called critical intelligentsia and major record companies), The Fibonaccis released their first record in 1982 on the local Index label, titled fi'-bo-na'-chez. On this, they definitely wore their influences on their sleeve, but also showed a very strong developing personality all their own. John Dentino's menacing Mellotron and piano figures provided a wonderful foil for Magie's swooping voice, Joe Berardi's percussive colors were sheer propulsive delight, Ron Stringer's piercing, angular Surf-meets-Ennio Morricone inspired guitar gave the music a cool edge as well. Plus, John is the only keyboard player I have ever heard that could make a cheesy Casio keyboard sound cool! Soon, their reputation as a live act on the LA club scene began to grow, even garnering rave notices in local music publications. It was a wonderful refreshing alternative to the synth-drenched mindless dreck of the time! Not only was their original material inspired, but they also delighted audiences with a hilarious, twisted version of "Purple Haze" and a spine-chilling reading of the theme from Alfred Hitchcock's "Psycho". In 1983, they released an EP on the Enigma label called Slow Beautiful Sex, (the title cut was a ferocious jab at Yuppie consumerism and decadence, featuring lines like "Pour me some Giacobazzi / And tell me you're a Nazi"). The back cover was a hilariously doctored version of the liner notes from an old John Coltrane album (most likely "Giant Steps") with a B&W photo from "Psycho" to boot. It was also at this point that Tom Corey came into The Fibonacci's fold wielding a bass, a mandolin, a voice, and a lot of biting humor of his own.
The Fibs undertook a number of select live appearances (mainly in the LA area) , as well as occasional festival and radio appearances. It wasn't until 1986 that anything in the way of another recording appeared (save for some appearances on compilations like "The Radio Tokyo Tapes"). By this point, changes in the band were happening. Guitarist Ron Stringer resigned, and Tom Corey assumed some guitar duties. The Fibs wound up being asked to write music for a Horror-Comedy movie called TerrorVision.
At last, they thought, this was the break they were waiting for! Alas, the movie (and soundtrack) didn't do quite the booming business that was hoped for. Undaunted, the Fibs redoubled their efforts to produce what was to be their last recording, Civilization and Its' Discotheques, in 1987. The period in its production was marked with so many flubs, false starts and difficulties with record industry people, that the Fib's mailed a box of corn flakes to a particular person to emphasize their feelings about how he was handling things. They also appeared in a movie called Valet Girls in a party scene, under the name of "Sex Holiday". In 1988, frustrated and weary of dealing with an unsympathetic music biz, and the grind of trying to tour and be noticed, The Fibonaccis bowed out for good.
In the 90's, Restless Records issued a fabulous compilation CD called Repressed which gave an excellent overview of what The Fibonacci's were all about. It also included never before released recordings from a radio show. It doesn't seem likely that the Fib's will reform, but there are certainly some great recordings to remember them by, and those of us who were fortunate enough to see them live will always treasure their inspired lunacy and musical adventurousness! If you see any recordings, DON'T HESITATE TO GRAB THEM!! You'll be glad you did!
Back in the fashion obsessed 1980's (when bad hair, cheesy synth driven music and trendy superficiality were the natural order of things), four brave souls dared to challenge the cultural status quo of their native LA and beyond. Taking their name from an Italian mathematician (Leonardo Fibonacci) from the 14th Century who had a jones for number sequences, The Fibonaccis pulled together the above mentioned elements and began their conquest. The lineup was:
Magie Song: Lead vocals, Theatrics, Percussion, Dancing
John Dentino: Piano, Synths, Casio Keyboard, Mellotron, Vocoder
Joe Berardi: Drums, Percussion, Vibes, Various Metals, Fake Electric Cello made from a cheap old electric guitar.
Ron Stringer: Guitar, Some Bass, Angular Dissonance
The resulting sound of this daring foursome to my ears was a tempestuous mix of progressive rock, film soundtracks, waltzes and circus music, Talking Heads-like funkiness, spaghetti westerns, Zappa-esque biting humor and may other exotic musical colors. This definitely was not Flock of Seagulls, Frankie and the Knockouts or whatever cheesy 80's band comes to mind. It aimed straight for the gray matter, and you could dance to it as well (In fact, Magie STRONGLY encouraged the audience at their live shows to do just that)!
Flying in the face of what was critically and commercially acceptable (anything with more than 3 chords, complex rhythms and intelligent lyrics was violently disdained back then by the so called critical intelligentsia and major record companies), The Fibonaccis released their first record in 1982 on the local Index label, titled fi'-bo-na'-chez. On this, they definitely wore their influences on their sleeve, but also showed a very strong developing personality all their own. John Dentino's menacing Mellotron and piano figures provided a wonderful foil for Magie's swooping voice, Joe Berardi's percussive colors were sheer propulsive delight, Ron Stringer's piercing, angular Surf-meets-Ennio Morricone inspired guitar gave the music a cool edge as well. Plus, John is the only keyboard player I have ever heard that could make a cheesy Casio keyboard sound cool! Soon, their reputation as a live act on the LA club scene began to grow, even garnering rave notices in local music publications. It was a wonderful refreshing alternative to the synth-drenched mindless dreck of the time! Not only was their original material inspired, but they also delighted audiences with a hilarious, twisted version of "Purple Haze" and a spine-chilling reading of the theme from Alfred Hitchcock's "Psycho". In 1983, they released an EP on the Enigma label called Slow Beautiful Sex, (the title cut was a ferocious jab at Yuppie consumerism and decadence, featuring lines like "Pour me some Giacobazzi / And tell me you're a Nazi"). The back cover was a hilariously doctored version of the liner notes from an old John Coltrane album (most likely "Giant Steps") with a B&W photo from "Psycho" to boot. It was also at this point that Tom Corey came into The Fibonacci's fold wielding a bass, a mandolin, a voice, and a lot of biting humor of his own.
The Fibs undertook a number of select live appearances (mainly in the LA area) , as well as occasional festival and radio appearances. It wasn't until 1986 that anything in the way of another recording appeared (save for some appearances on compilations like "The Radio Tokyo Tapes"). By this point, changes in the band were happening. Guitarist Ron Stringer resigned, and Tom Corey assumed some guitar duties. The Fibs wound up being asked to write music for a Horror-Comedy movie called TerrorVision.
At last, they thought, this was the break they were waiting for! Alas, the movie (and soundtrack) didn't do quite the booming business that was hoped for. Undaunted, the Fibs redoubled their efforts to produce what was to be their last recording, Civilization and Its' Discotheques, in 1987. The period in its production was marked with so many flubs, false starts and difficulties with record industry people, that the Fib's mailed a box of corn flakes to a particular person to emphasize their feelings about how he was handling things. They also appeared in a movie called Valet Girls in a party scene, under the name of "Sex Holiday". In 1988, frustrated and weary of dealing with an unsympathetic music biz, and the grind of trying to tour and be noticed, The Fibonaccis bowed out for good.
In the 90's, Restless Records issued a fabulous compilation CD called Repressed which gave an excellent overview of what The Fibonacci's were all about. It also included never before released recordings from a radio show. It doesn't seem likely that the Fib's will reform, but there are certainly some great recordings to remember them by, and those of us who were fortunate enough to see them live will always treasure their inspired lunacy and musical adventurousness! If you see any recordings, DON'T HESITATE TO GRAB THEM!! You'll be glad you did!
Совершенно чумовая и безумная команда из Лос-Анджелеса, взращенная на обломках нью-вейва и ноу-вейва, арт-панка и арт-рока, авант-попа и фрик-кабаре. Послушать я их хотел еще в пору своего увлечения авантом, и недавно, благодаря эхнатончику, дрим кейм тру. Не скажу, что я дичайше счастлив - я ожидал больше мелодики, черт! - но сабж безусловно придется по душе "вот этим ребятам"(С): Z-buffer, Mass, Kobold, Rusty Lily, just another monkey, итд. Эдакие Арт Беарз пополам с волновыми Кримзонами, что ли:up:
Дискография:
fi'-bo-na'-chez (82)
Slow Beautiful Sex (a.k.a. Tumor) (83, EP)
Civilization and Its' Discotheques (87)
Repressed (92)
Залил 2 имеющихся релиза (выделенные жирным шрифтом) в 128 кб/с (выше не нашел, увы:dontknow
- Description
- avant-pop/art-punk/new wave cabaret
- Country
- usa
Last edited by a moderator:
