Giacomo, Stefano, Federico – Storm{O}

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Giacomo, Stefano, Federico – Storm{O}

Borders can be mental, existing only in our heads, and yet feel as powerful as though they were made of barbed wire and guarded with guns. And then there are the borders that are very much physical, which can have quite visceral emotional ramifications. We’re STORM{O} from Italy and we’re back in 2019 with the new album Finis Terrae out on October 4th via Moment Of Collapse records. Over 12 songs we combine the fury and speed of old-school hardcore with the gloomiest melodies of post-hardcore. During the recording sessions of our last album we were influenced by different bands and records.


Fuzz – Fuzz
The first Fuzz full-length opened my eyes to the latest psych garage punk wave that I had hardly considered before. Bands like Thee Oh Sees, King Gizzard and the Lizard wizard and Uncle acid & the deadbeats have a sound and a riffing that truly influenced me during the writing process of “Finis Terrae.” I wanted to return to the classical song form, trying the umpteenth time to destroy it. That was my new vision on the composition process of the album.


Baptists – Bushcraft
During the production of “Finis Terrae” I listened to “Bushcraft” by the Canadian hardcore punk band Baptists. It is an immediate and straightforward album with corrosive guitar distortions, shouted vocals in full HC style and a good alternation between frantic and pounding drum rhythms. This contributes significantly to the variety and dynamism of the record.

Nick Yacyshyn’s work on drums inspired me for the technical expertise of the fill and the refined variations within the D-beat standard. The two tracks that influenced me the most were “Think Tank Breed” and “Abandon.”


Steve Reich – Early Works
During the preproduction and recording of “Finis Terrae,” I listened to utterly unrelated music we use to play live in order to have a different approach and focus on the sound, listening to it from another perspective. I’ve always been obsessed with the works of Steve Reich, but during the past few months even more and especially with his 1987 Early Works and the composition Piano Phase. With a simple loophole, he created a new way to intend, listen, and work with music. All the tape work is an inspiration to me. It’s easy to do it on a technical side, but it’s so rich of textures and variations that is the quintessence of the sound itself.

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