Daydream Three – Stop Making Noise

(self-released)

Although Daydream Three is the brainchild of Italian guitarist Enzo Pepi, and they really are a trio with Enzo backed up by the rhythm section of drummer Vincenzo Arisco and bassist Alessandro Formica. Enzo has been around for a good while, both amongst the Sicilian noise / post-rock scene and spending time in Twig Infection and The Pepi Band.

As a group, they share some aesthetics with the likes of Dinosaur Jr and Shellac: trios with a powerful post-hardcore sound; but where Daydream Three diverges from those groups is in Enzo’s diverse vocal stylings, coming on at times like an Italian Ian Curtis, his doomy baritone outlining tales of loss and heartache and at others in a more forlorn manner, almost as if there were two vocalists.

It is an impressive feat and one that helps to bring diversity to Stop Making Noise, their third album and even more impressive considering it was recorded live over two days in the Arsonica Concert Hall for that true live venue feel. The record opens with dense fuzz guitar, melodious bass and that deep baritone. It is a mid-tempo clash of post-punk and grunge that has some familiarity, but the voice / music combo is pretty unique.

Enzo’s voice changes dramatically for the next track, “Meat Sauce”, and there are some backing vocals from recording engineer Claudio Barbagallo to lend more texture. The voice is more diffuse here and the song is a charming bass-led confection that sheds the weight of the opening track, with a sweet guitar break that put me in mind of Grant Lee Buffalo and that is no bad thing.

The leap in styles is impressive and unpredictable, with the uptempo distortion and capricious directional changes of “We Are Not Guilty” giving way to the Dinosaur Jr bluster of “Mad Dog” via the clean guitar tone of “Flow”. The rhythm section, having played with Enzo since he released the first Daydream Three album in 2019, follow him down every avenue and match him pound for pound in the lumbering strength of “You Can’t Deceive Me Anymore”, which sounded a little like Sugar, down to the whispered confessional “Only Sweet Words”.

The quieter the guitar sound, the more the vocals are highlighted and the rhythm section dials it down accordingly; but when the volume does reduce, intricate guitar melodies come to the fore. They also do melancholy, particularly on the closer “You Have No Control” and again too as the emotion is wrung from the words, so the players hold back, allowing the listener to appreciate the sentiments.

All this veering around is rather fun and as a big fan of the US college rock form prevalent in the ’80s and ’90s, this album ticks a lot of boxes. “Dark Days” wouldn’t have been out of place on Bug and there is even a goth tinge to the intro of “You Can’t Deceive Me Anymore”. You can sense Enzo’s influences, but he is able to take them and make something fresh that appeals to today’s listener. Stop Making Noise is well worth checking out.

-Mr Olivetti-