Underneath by Calicoco

 \28.8.23\

    New York has been a breeding ground for boundary-pushing sonic projects in the modern era, but few would look to Rochester for the same creativity NYC has. G Caliolo is changing this expectation, bringing the city slick of their Long Beach, Long Island home to their hometown. Multi-instrumentalist and songwriter only go so far to highlight the talent Caliolo brings to this project. Helped out by Matt DeWaters on bass, Kyle Waldron on guitar, Stephen Roessner on piano, percussion, synth, and a roster of other contributors, Underneath is a blend of punk, lounge, classic rock, and good old indie alternative sounds with a gorgeous patchwork of moods and vibes. 

    Typically when I sit down to review a record, it is one I’ve listened to more times than I can count, and Underneath is no exception. However, I think the magic of this album comes from the smooth vocals and heavy psychedelic guitar distortions that create a noise that's easy to listen to, but when you take the time to really hear it, things start to pop out and take shape like never before. A truly great record gives you something new on every listen, here, depending on how its listened to, its like two different albums. The duality comes through in the high energy songs like “Underneath” and “Heal Me” that have shine and grit while tracks like “Melancholy” and “Shade of Blue” can slow it down with stronger focus on the individual instruments and a quiet foreboding that captures the listener.

    The needle drops and we’re greeted with a sound that made me slap my amplifier a few times, a low cut combined with gritty guitar sure sounds like a missed input. But when the filter drops and the drums come through like a stampede, the enormous sound of this album is unmistakable. A combination of non-typical drumming and soaring distortion give an arena-like feel to any home stereo system. “I Hate Living With Me” is also the chorus of the track that rings out like a chant at a sporting event, and “I won’t make it” rings through the static like the subconscious reaching out.

    Our next step is to the land of love lost. “Strangers” introduces us to the depth of distortion throughout this album, welcoming us to the heartbreak that fuels the creativity here. There's a recognition that things are better now that it has ended, but wanting to have been good enough so it didn’t have to, but ultimately now they’re gone. “Underneath” comes across with messy guitars and clean drumming to tell us “I’ve lost all my control” in the aftermath. The noise of it all echoes the utter feeling of being lost after love lost. Without the guidance and company on what was already a treacherous journey, the wheels have fallen off the cart and what was a steep decent is now a long, out of control slide.

    Without a doubt the lead track “Heal Me” shines without objection. Reminding me of the sounds of the Yeah Yeah Yeahs and Psychedelic Porn Crumpets, this track brings the wild, non-stop ride from top to bottom married with tempo switch-ups that keep it interesting. It feels like a more refined version of the previous tracks, all of which would make this album a must listen on their own.

    Transitions are handled masterfully on this work with the track “Cuore Mio”, making great use of the high “Heal Me” leaves us with, in order to plunge us into a sonic sensory deprivation tank of sorts. Tracks like this make masterful use of distortion as an instrument itself, such that when you really listen, new melodies show themselves that weren’t there when casually listening. This track in particular glows in a dark way, providing a respite for reflection. 

    Next is the transition into “Melancholy”, which pulls out slowly from the depths with a ladder of polite guitar rhythm to the light of the pensive piano. the vocals come in to remind us that there will be color yet again, exploding into the familiar bouquet of sound reminiscent of 200’s indie like early Arcade Fire or Grizzly Bear. The good times continue on “Haunting”, with a sense of growing and moving on. there’s an acceptance that you’re never really over the loss, and the journey forward isn’t linear. The instrumentals are gritty but bright, in that indie style that massages the brain and makes for a pleasant casual listen, or like i brought up before, a greatly expanded deeper, critical listen. The layers shine through on these last two tracks, and keep rolling through the last two of the album. 

    Rounding it out, “Shade Of Blue” arrives with a muddled guitar, echoing the feelings of being under water or in a fog. The mood is that of being lost in a dream, referencing “New Shade of Blue” by Southern Pacific. The song is drowned out by our own imagination that takes us back to the dreams and memories we carry of the ones we’ve lost. “I Was The Devil” echoes back to a similar soundscape we left on “Coure Mio” with immense synths and a delicate percussion that accompanies the tragic story of seeing them again, but being weighed down by the guilt we still carry. It’s a slow and reflective end to this album, letting us down in a gentle sonic manor, and yet a deeply melancholic feeling lingers.

    All of this majesty is packaged on a single mossy green LP that is accompanied by many fantastic liner notes, photos, and the iconically simplistic album cover. Less is really more in the front, but an explosion of love and appreciation for all the collaborators is displayed with the photobook of images lining the back and the insert. Releasing in September of 2021, I am anxiously awaiting more material from G Caliolo. Be it on this project of another down the road.