PORT NASIM Drops It’s Murky Grey LP

By Deuce

There’s lots to like about PORT NASIM’s new album It’s Murky Grey, which was unleashed upon the world exactly two days ago on February 8. Although it’s only seven songs, the band manages to encompass a range of different delights for listeners from all parts of the globe.

To that end, the act—which is based in Italy and appears to hit verses in at least three languages, English being one of them—makes a great case for the concept that music is a universal language. The best way they accomplish this point, however, is likely with the bass, and bass lines, that populate this oeuvre.

Any doubts, disbelief, or criticism about this fact will quickly be silenced by a dose of “The Need”. Sure it’s moving along crisply at a good pace, and there’s a fair amount of electric guitars riding things out as well. But the bass line is the true issue here. It makes the song enjoyable, is played adroitly, and works so well it can almost hold things down without any vocals whatsoever.

Jorg Lenuweit, the bassist, certainly knows what he’s doing here, and allows room for Chiara Giacobbe to up the ante with the keys—although Lenuweit is also credited on the keys as well, and could be responsible for them on this number. He certainly runs the show on the bass again on “Business Clothes and Cheated Wives”, which features the second best bass line on the album. This time it’s somewhat bigger, not as rapid, yet every bit as compelling—particularly on the verses, when it simply cruises along with the drums and an organ, creating an almost spooky feeling.

Another one of the highlights of this collection of tunes is the female vocalist (who almost has to be Giaccobe) singing notes in the background. She’s got a good, natural sounding voice that soothes. The singer does her thang on the opening cut “In The End” and on the follow-up, “That Isn’t True”. It would’ve really been fascinating to hear her on lead vocals, which could only help things in the future.

Finally, the acoustic guitar work on this album is exceptional, and not just on the acoustic version of “Isn’t True”. Sometimes that guitar playing is wiry, in other times its whimsical, but it’s always one of the standouts on the many songs on which it’s featured—and damn near worth the price of admission alone.

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