New wave, psychedelic, jazz and folk rock influences join forces behind Pete Gioconda’s outlandish, poetic, lyrics for Up You – an album that’s unlike anything else you’ll hear this year!

AN ALBUM UNLIKE ANY OTHER

He’s been described as: “A unique, edgy singer, playwright and protest poet, with a penchant for historical reference.”  Fair enough, but if you think that’s a summary that will prepare your ears for a blast of Up You – the new album from Pete Gioconda – then, I’m afraid, you’ll have to think again.  Put simply, Up You is an album unlike any that you’re likely to hear this – or any other – year.

The tunes are there, without question. And, whether your taste is for Syd Barrett-influenced psychedelia, PiL-styled post punk, the straight-ahead rock of The Who, Velvet Underground dystopia or even a blast of Dixieland jazz, you’ll find something to suit your taste on Up You.  But that’s missing the point.  Because Up You is really a platform for Pete’s poetic meanderings, which he delivers in a voice that hovers somewhere along the continuum that connects John Lydon to The Simpsons’ Barney Gumble.  And, that’s where Up You becomes very interesting indeed.

Pete’s poetic style is influenced by the freedom he found hitching and wandering during his 20s, and by his love of classic literature.  His aim is to merge story, theatre and poetry with his songs and, once that objective becomes clear, Up You starts to make a whole lotta sense.  Sort of.  Pete’s lyrics can be surreal and they say things that most of us could never, ever think of.  But they never fail to entertain.  My advice to Up You listeners is: Enjoy what Pete has to say and don’t be tempted to over-analyse anything.

SURREAL LYRICS AND HYPERACTIVE VOCALS

A swirl of sound breaks out into a wild, almost big-band pop anthem to get opening track, A New Poem for You off the ground.  Pete’s lyrics celebrate wandering alone – something that he’s done a lot of, over the years – and he pays at least some attention to the tune as he delivers them.  And, as the Dylan-like harmonica howls make their appearance, the penny drops: this is a Rainy Day Women #s 12 & 35 for the 2020s!

The backing to She’s Got Your Eyes has already attracted comparisons to The Velvet Underground and the sharp, shrill, pulsing electric guitars readily support that comparison.  But, then again, Pete’s hyperactive vocals are about as far from anything that Lou Reed could produce as it’s possible to get.  If John Cale was to meet Jilted John in Dylan’s backyard, I guess that this what they’d sound like.

Pete forces his superbly surreal lyrics: “In loser’s paradise, I don’t write poems – I AM the poem, man,” through a strained, reluctant, larynx, for Loser’s Paradise.  Meanwhile, the band play along to produce an accompaniment of tinkly, depressant-fueled doo-wop.  We’ve already had a taste of Union True, the album’s lead single and we were quietly charmed by the song’s tight-yet-gloriously-lazy instrumentation and the lysergic tones in Pete’s voice.  It’s a song that recalls Barrett-era Pink Floyd, not least with the psychedelic flavour of Pete’s lyrics: “I’ll crawl across the painted heather, pull your snaking flesh together…”

PSYCHEDELIA, TANGOS AND WALTZES

Syd Barrett is clearly, too, the principal influence behind the psych-pop Here I Go.  The tune has music hall leanings and Pete’s harmonica solo creates a sudden impulse to perform a high-kicking dance.  But, then again, Pete’s pastoral, dreamy lyrics have the power to suggest that such behaviour might be inappropriate…

The organ swirls that introduce the excellent Naughty Little Lemon are something of a surprise.  And so, maybe, is the powerful tango that provides the backdrop to Pete’s rants: “Your laughter is a hoot, your face a fairy flute,” and “I can’t count the days, falling down beneath…”  And the music on this one is truly breathtaking.

With lyrics like: “Was it all a ploy, and someone’s toy?  Did you turn back without me, wasted and annoyed?” Pete laments the fading of the 60s hippy dream with Jasmine Gold.  The song is a woozy waltz – although, quite honestly, I’d be flabbergasted – and so pleased – if I found out that anybody had actually waltzed along…  And, to continue his exploration of the genres, Pete turns to smooth jazz for the bouncy She Had an Air.  It’s another fascinating ditty and, perhaps surprisingly, Pete’s choice of tune is the perfect match for lyrics like: “Told my girl I loved her belly – you’re the place that I love best!”

SPRING IS EVERYWHERE

Crashing distorted guitars and thunderous drums provide the intro to the rocky Laughter in the Fog.  The album’s press release draws parallels with The Sex Pistols, but this song is, I reckon, too lovable for that.  Still, there’s a Baba O’Riley riff nestled in there somewhere and the song’s “Goodbye” coda is pure Mott the Hoople.  And, continuing our round-up of genres, we move on to Dixieland jazz – complete with horns and Swanee whistles – for Hey You (Out With Shopping Bags).  It swings, too, but listeners shouldn’t allow themselves to be distracted from what Pete is trying to say about the ‘normal’ people that cross his field of vision.

Coming Up is described as: “…a Byrds-like song, celebrating the return of Spring” and, yes, the guitars jangle and the 60s feel is there.  It’s hard to decipher whether the joy in Pete’s lyrics is genuine or whether it’s just another of his ruses, but let’s give him the benefit of the doubt.  After all, the message in a line like: “I’m coming up for air.  Last Winter, I was suffocating, now, the Spring is everywhere” seems pretty unambiguous.  Doesn’t it?

INORGANIC BEINGS

The comparison between Your Dark Numbers and post-punk PiL is clear to hear.  Tight, punchy riffs, guitar chimes and a reggae-derived bassline are all overlaid by slides of harmonica.  Pete’s voice is almost, if not quite, melodic as he sings lyrics that swipe out at money obsessions.  And there’s more near-melodic vocalizing to come, with the chugging Wake Up or Be Captured.  The rhythm is punctuated with rat-a-tat drumfills and the whole thing swings along nicely.  There’s a touch of anguish in Pete’s harmonica sound and Pete’s voice wobbles as he warns that: “…inorganic beings will eat your glowing coat, so you sleep well in their thoughts.”

Closing track, Today, is – perhaps – the closest thing on the album to the comfort zone of an uninitiated listener.  A driving riff is driven along by bass and drums, whilst weeping guitar and sweeping violin provide the highlights.  Even Pete sounds sincere as he sings: “Today, eternity is calling.  Today, everything is shimmering.”  And, finally, we understand, first time around, what he’s trying to say.

Listen to Naughty Little Lemon – a track from the album – below:

Pete Gioconda: Website

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