Biography
La Cucina earned comparisons ranging from Les Negresses Vertes to Madness, serving as an engaging cornerstone in the evolution of UK roots music during the early 1990s. The group originated in Southampton, England, in 1988, emerging from the remnants of the indie act Who’s In The Kitchen? Its initial lineup consisted of a trio—Owain Clarke on vocals, guitar, and keyboards; Dylan Clarke handling bass and vocals; and Eliseo D’Agostino on accordion—which focused on replicating Neopolitan-styled material. A seven-piece performance at a local Southampton pub, featuring Scott Tobin on drums (a former part-time Levellers member), Jock Tyldesley on fiddle, and a Sikh priest on tablas, prompted a shift toward a broader musical base. Strong crowd responses highlighted how dance-driven arrangements resonated most effectively. Tobin committed full-time, while Rob Greenstock, formerly of Steam Kings, added conga in October 1991; although Tyldesley and Dylan Clarke also performed with the Flatville Aces, the latter remained with La Cucina to pursue expanded songwriting prospects.
By fusing Cajun fiddle with the driving percussion of rave, Latin American piano, and eccentric original compositions inspired by Neopolitan forms, La Cucina evaded easy genre placement. Some questioned the members’ Italian authenticity, noting that D’Agostino—a second-generation Neopolitan fluent in English—occasionally adopted an Italian accent to secure engagements. Such matters held little relevance for the band or its listeners, as expressed in their statement: ‘The way that we see it is that we play good dance music, people come along and have a good time, a dance. We see it as a bit of a show really, a spectacle.’ Their free adaptation of Latin elements ultimately strengthened their appeal, evident when contrasting the early self-released cassettes La Luna Spinosa and Morte Accidentale De Musiciste with the 1994 CD Chucheria. Independently produced and promoted, Chucheria introduced newcomers to the ensemble’s energetic live presentation while revealing greater instrumental refinement and a capacity to draw from multiple traditions without diluting its core character. The 1996 successor Nabúmla surpassed it, delivering a fluid sequence of tracks that incorporated an astonishing array of musical influences.
By fusing Cajun fiddle with the driving percussion of rave, Latin American piano, and eccentric original compositions inspired by Neopolitan forms, La Cucina evaded easy genre placement. Some questioned the members’ Italian authenticity, noting that D’Agostino—a second-generation Neopolitan fluent in English—occasionally adopted an Italian accent to secure engagements. Such matters held little relevance for the band or its listeners, as expressed in their statement: ‘The way that we see it is that we play good dance music, people come along and have a good time, a dance. We see it as a bit of a show really, a spectacle.’ Their free adaptation of Latin elements ultimately strengthened their appeal, evident when contrasting the early self-released cassettes La Luna Spinosa and Morte Accidentale De Musiciste with the 1994 CD Chucheria. Independently produced and promoted, Chucheria introduced newcomers to the ensemble’s energetic live presentation while revealing greater instrumental refinement and a capacity to draw from multiple traditions without diluting its core character. The 1996 successor Nabúmla surpassed it, delivering a fluid sequence of tracks that incorporated an astonishing array of musical influences.
Albums
