URAGANO, a pioneering screamo outfit from Sanremo, proudly unveils “LP1,” a collection a decade in the crafting. This ambitious first LP marks a milestone for the band with its sonic explorations and emotive turbulence, heralded by the lead single “Capo Danno.”
As anticipation builds, thanks to the band and a consortium of international labels, including Dischi Decenti (Italy), Nontiseguo Records (Italy), 1a0 (Italy), Ripcord Records (Scotland), Remorse Records (France), Bus Stop Press (France), Saltomortale Records (Slovakia), and 5feetunder (Denmark), we’re unveiling the full stream of the album today! Check it out below and see the full track by track commentary below.
“LP1” stretches the canvas of vectorial post-hardcore, painting with broad strokes of deconstructed screamo, post-metal accents, and electronic shards. It’s a record that refuses to simply blend genres; instead, it decontextualizes each element, reassembling them into a cinematic experience that shifts and twists with each track.
The lyrics weave an amalgam of daily narratives and cryptic metaphors, confronting themes of alienation and perpetual discomfort, making “LP1” a vinyl experience that fragments yet captures the very essence of Uragano’s spirit.
Behind the album are Luca’s multifaceted roles, Alekos’ synthesizer and vocal contributions, Ometto’s foundation bass and vocal contributions, and Boda’s dynamic drumming and percussion, with lyrical and vocal collaborations from across the globe enriching the mix.
Recorded and mixed at Onda Studio and mastered by Brad Boatright at Audiosiege, “LP1” is not just an album—it’s a journey through Uragano’s storm of creativity, waiting to engulf you from the first listen.
The creation of “LP1” has been a long-standing endeavor for Uragano, beginning as far back as 2018 when the initial concepts for tracks like “Indonesia” and “Djent1” were laid out. At that time, the band consisted of just the two members, and the compositions were in their most rudimentary forms. Early iterations of some pieces, such as “Encore,” can still be found online, capturing their nascent stages.
The band’s narrative took a significant turn in 2021 with the expansion of their lineup, allowing for a more robust development of their music.
“With the arrival of Boda on drums and Alekos returning, this time wielding synths, we found ourselves in a position to really step on the gas,” the band reflects. This change catalyzed Uragano to steer their music into uncharted territories, fulfilling a long-held ambition to experiment with their sound and creative direction.
Uragano’s musical ethos can be distilled into one phrase: “Music for Weird People.”
From the outset, the band has been dedicated to pushing the boundaries and deconstructing the conventions of traditional post–hardcore, a genre they perceive as having grown somewhat stagnant in recent times.
For Uragano, carving out an identity rooted in non-conformity has always held paramount importance.
Their message is clear: it’s not only acceptable but also quite cool to be different, to embrace the role of the outsider, and to grapple with feelings of inadequacy.
While there’s nothing wrong with adhering to trends and aligning oneself with a community that shares a common vision, Uragano’s music caters to those who don’t quite fit that mold.
Let’s dive into the details of each and every song from LP1.
Words by the band.
The album begins in a very misleading way, that is, with a super emo song with arpeggios, spoken word and shouted choirs. It is an autobiographical song that talks about the difficulty of returning after a long time, re-establishing relationships and the weight of memories. In short, an emo intro
Capo Danno is one of those raw and direct songs and probably the most screamo in the album (if I can say so). It is set on New Year’s Eve (the name is a play on words in Italian, New Year’s Eve/ Damage Boss) in a city in northern Italy. The key part of the lyrics is in the chorus: “ma non era meglio vivere in una città ostile? (but wasn’t it better to live in a hostile city?)”
Then follows a comparison between the city from which uragano comes from vs the city mentioned above (where one of us now lives). Both places are not easy to live in but for opposite reasons.
Fun facts and nerd curiosity: the final part is a polyrhythm where the synths play a 4/4 while the rhythm section plays a 7/8
Pinguino is perhaps one of the most deconstructed songs. It’s super fragmented and very screamo but with elements like a techno kick sample on the main riff and Enter Shikari-style synths in the chorus. The lyrics, in typical uragano style, talks about a person who, while cleaning up his house, finds an old stuffed Penguin in a corner and is about to get rid of it.
But when they meet its glassy gaze, the memories of the person who gave it to them come back to the surface, making them reflect on how they abandoned it inside a box, completely depriving it of any form of affection.
It’s a sad song.
It’s a really long song, a journey ideally set after Gabbiani (from ep#2 of 2014). The main characters of that song find themselves in the “new world” and are divided among themselves by enmity. But above all, they realize one simple thing: the place they had longed for is much more hostile than the one they came from.
How many times have we moved, looking for “our place” in another place only to realize that we were worse off than before?
The lyrics, however, end on an even more strident note, namely that, in any case, distancing is sometimes the most important thing.
In the song there are also samples taken from Herzog’s Encounters at the End of the World and to be precise, obviously, of the speech regarding the Penguin who separates from the pack to go in the opposite direction and possibly, die.
DJENT 1 e 2
Djent is another fairly complex song with a lot of different elements inside: a metal riff in 5/8, emo-inspired arpeggios, techno kicks again and continuous ups and downs in the flow. The song is divided into two parts, concluding side A and starting side B of the vinyl. Speaking of the lyrics, it further explores the theme of not feeling at home anywhere, with references to doomscrolling as a practice of coping and the lack of communication resulting from distance
It’s a dissing to the “hype” culture and to all these bands that sounds like a copy of another band. It’s an ironic song and breaks a little the suffocating atmosphere that dominates the rest of the album.
The tempo changes a lot from 3 to 7 to 4 and with extra bars in the end riff but without feeling super mathcor-ish. There are some harsh noise samples in the verse but also take inspiration from bands like Raein and Subsonica.
It’s literally called like this because we used to play it as an encore. It’s a pretty straightforward song that talks about the inevitability of defeat, especially in the face of nature (introducing a bit of the theme of the next song in the album).
We always have a lot of fun playing the end part.
It’s one of those songs that we wrote a long time ago but then took on a whole other dimension with the addition of synths
Here we enter more post-metal territory, for a piece that literally talks about climate change and its inevitable and tragic conclusion. The apocalyptic setting is told in the central spoken word part but the central phrase is in the chorus “maybe you believe that the ground will hold forever? Maybe you believe that the problem will vanish in the meantime? We are the end”
There is no escape, there is no solution: it is too late and it is only our fault.