Puglia, Italy’s psychedelically shapeshifting Kalascima make their New York debut on October 14 at 6:30 at Drom; cover is $15. Their latest album, Psychedelic Trance Tarantella is streaming at soundcloud. And it’s like nothing else you’ll hear coming out of the US, that’s for sure. Italy has been a hotbed of hot musical cross-pollination for literally millennia, and this group is no exception, part dancefloor trance band, part lively folk-rock outfit, part wild circus rock unit. The flurrying twin-percussion team of Riccardo Lagana and Federico Lagana propel the group in tandem with low-key bassist Riccardo Basile. Massimiliano De Marco plays an arsenal of acoustic stringed instruments, with Luca Buccarella on accordion and Aldo Iezza playing all sorts of reeds, from sax to the zampogna (sort of the Italian counterpart to the Irish uilleann pipes)
The album’s title track has uneasy vocal loops mingling with Celtic-tinged accordion and zampogna. With its droll, ever-present jawharp, This Way is a woozy, hypnotic, somewhat goofy mashup of qawwali and Italian folk. The catchy, slowly swaying Lu Sule adds wry hints of hip-hop and dub to a spiky, spiraling folk-rock anthem.
Moi! returns to a surreal mashup of tarantella catchiness and trancey qawwali dnacefloor groove, heavier on the former than the latter with some unexpectedly menacing vocal harmonies midway through. Mary Di Salem sends disembodied vocals and dubwise washes of keys floating through the mix over a muted dancefloor thud. Due Mari, featuring cinematic art-rocker Ludovico Einaudi on scampering, staccato piano, follows a slowly swaying, anthemic triplet rhythm spiced with De Marco’s rippling Irish bouzouki.
Kore, one of the deeper trance numbers here, anchors the brightly dancing accordion and Irish-flavored bouzouki in shifting, rhythmic grey-noise patches. The trippy grooves continue with Il Giardino, part qawwali, part spinning spider dance. Canto Degli Emigranti has a purposeful, briskly strolling bounce, dancing phrases from the zampogna, accordion and bouzouki echoing off each other as they spin through the mix.
La Rivolta Dell’Arneo is the techiest number here with its new wave synth loops and ever-present dancefloor thump anchoring briskly pulsing accordion and mandolin. The album winds up with the lush, windswept Musa – Musa Reprise, a sort of sea chantey without words, getting stranger and stranger as it goes along. English translations of the lyrics are hard to find, but the group seems to have a sense of humor, echoed in the interplay between the instruments. You can get seriously lost in this.