TRAKS MAGAZINE #13

Bang Bang Vegas FilGroup1933 RAI Spread Tain No. 13 - APRIL 2018

www.musictraks.com

index 4

Bang Bang Vegas

8

FilGroup1933

12

RAI

14

Rita Zingariello

16

Furia

18

Tain

20

Spread

22

TrèHùs

24

Reprint

26

Reviews

30

Tour

31

Audio Hi Tech

32

Video

TRAKS MAGAZINE www.musictraks.com info@musictraks.com

interview

Bang Bang Vegas

A step back on the evolution Born “with the specific goal of bringing back blues and rock in the streets”, Bang Bang Vegas keep faith with their intentions thanks to a record like Party Animals, recently relaunched also thanks to a new video, the title track, which tells the story of a “rosary”, that is, a rose seller.

The video tells the story of a rose seller, why this choice?

We always saw this Bengali boy with roses at the same traffic li-

ght, for years, morning, afternoon, evening, 40 degrees, -5 degrees, rain, snow, always smiling, on the Sempione state road. One day we were going to play at the Trottoir, we were at the tail of his lights, he gets closer as usual, he sees the instruments and says “Khan big star in India, big star”. At that time we were looking for the protagonist of the video of Party Animals, he had served it on a silver platter. Who better than him could play the figu-

re of the hardcore worker in Milan who ... you will see in the video.

The rest is future history.

Did the protagonist of the video understand the meaning of the initiative? Did you willingly consent to the shoot?

He willingly consented. Even if we were not so sure it would eventually show up. We just wanted to spend a couple of days together and have fun, first of all. Then obviously we happened to know

better the character behind that nice face. A world that we can only imagine. The goal, however, was to break the wall inside him, let him live a few hours of total fun and make him forget the thousands of cocks he had on his mind. Done.

We cross it again every day at that traffic light, can not wait to release the video.

What is the message you want to give? What connection does it have with the lyrics of the song?

interview

the greatest satisfaction to play?

It depends on the state of mind clearly. In these times we give the best on the most noisy and party songs, rather than on the slow ones. We become a single mass of non-material matter, I do not know if I’ll explain... let’s take off.

What was your best concert and how was the worst?

The timeless “live as if it were your last evening”. A must, yes, but sometimes you need someone to remember it. Living with instincts, emotions and strong sensations, like animals. Take a step back on the evolution.

“Party Animals” shows a “robust” face of the band. But what are the songs that give you 6

The worst was one of the first outings in Milan, we played in front of zero people. Zero true. Nice stage. Nice everything, too bad it was early summer and people wanted to be outdoors, so full local, but everybody out. We did our show anyway as if it were sold out, really, without saving a shit.

Let’s play again first of all to enjoy.

The best was the concert we made at the Sziget festival in 2015. We played at 3 am... I do not know if you are aware of the scope of the festival, it’s a magical, incredible place. To get into pseudo-lucid conditions and make a live at that time of night it took a half miracle.

The people were lying on the grass, completely slouched... We started however to handcuff straight on our way, in 5 minutes the lawn was on fire. What a night... Then there are all the concerts we do at Le Trottoir in Milan. Those are always beautiful, both when there are ten people and we are in “great trip” mode, where we improvise without

even opening our eyes, and when we do not even turn around and people go on stage so tight. True uncontrolled spree evenings. The best place in Milan.

Do you have a lp in coming?

Can you give us some anticipation about it?

It is scheduled. For now there are only a couple of songs, but one of them is the one that will probably give the title to the album as well as the imprint and meaning of the whole work. We can not wait to find some time to get under it. But we still have to shoot a video of a song of this album before going on, this is the priority.

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interview

FilGroup1933 Let’s start from the beginning: how and why is Fil1933 Group born?

FIL1933 Group is a young network of record labels with the aim of giving space to emerging bands, managing the growth of young artists, trying to better exploit the talents that could not have space through the major record companies. Fil is a publishing house with Soundreef, it is composed of five discographic labels that are Fontana Indie Label, DanyMan Record, Fat Records,

Nea Agostini

Supernova Music and Tumult Records. Fil 1933 also includes Noise management, Voice Press and La Maison della Musique, analog studios where we produce all our productions. We are not the usual “label”: we collaborate with artists as once happened, leading them to a gradual growth path, we also support them economically in a large part of executive production, thus lowering production costs to budding young artists where the economic resources are limited. In 8

our structure there are also registers and visual style that take care of the videos and the image of the band. In these three years of management we have done so many positive things and also many failures I want to clarify, we are today the sum of all our mistakes!

Who are your founders?

The founder of Fil1933 is me, Matteo De Napoli, artistic manager, but to stand up everything is flanked by people with very high professional profiles: Rodolfo De Vecchi executive producer, professional in the field with thirty years of experience; Giacomo Manfre-

di, head of management for our artists with experiences on TV, currently also works at Fratelli di Crozza. Titta Colleoni, artistic consultant (historical arranger and pianist for Bennato, played Mia Martini, together with some friends he also founded the Bloom, a famous club where Nirvana also played); Luca Lanza, new entry of the Fil1933 house, deals with Marketing. Silvia Harrison international promoter; Daniele Amighetti recently responsible for Supernova music, started with us as a booker.

Pierluigi Rottoli artistic director of

Luca Lanza, Matteo De Napoli, Giacomo Manfredi 9

interview So much meat in the fire.

The group is based on five labels: why this choice?

Our mission is to become an indie major with all sub-labels. In reality it is not a need for union, but rather that of being able to range over several musical fronts starting from a single coordinating subject, which manages various property labels, characterized by precise thematic elements.

You have an open collaboration with the famous Abbey Road studios: how does this collaboration come about?

The collaboration stems from the great managerial work done by Giacomo Manfredi, who has submitted our artists to the Abbey Road Institute, which has deemed it appropriate to work with us for the design of the projects. Thanks go to Matteo Shipsi who coordinated the whole activity with Giacomo. In 2017 we produced Leaves and Stone and Le Madri degli Orfani. The first project is very mi-

One Eyed Jack Tumulto and promoter. Stefano Gatti promoter of Correggio and musician who organizes events in central Italy for Fil. Giulio Oldrini, video director and director, and finally Eric Le Funtan, head of our office in Beijing, American promoter and manager to whom we have entrusted the management of Fil1933 in China. In short, we are a good team, we consider ourselves an extended family, a collective of intentions. We collaborate with established artists, and in May we will produce Kristian Marr, a historic friend and guitarist of Amy Winehouse.

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nimalist and classic with a cello piano and a voice with a sung in English. The Mothers instead are pure pop garage, sung in Italian: yes, the English have produced in our language.

Do you want to talk about your Chinese projects?

We are working by three years now, we can say that we are the first record company to develop the brand in China, a closed and tight market. We think it’s the future for artistic start-ups (bands and soloists). Through sector stu-

dies and travel we have realized that in China a socio-cultural revolution is taking place, as in Europe after the war at the musical level, and we have seen it first. We are publishing ten records in six months on Chinese radio, TV and social networks in a maximal way because we have access to privileged and primary channels, which in the West would be impossible for us. The goal is to bring Italian music to China.

Le madri degli orfani

Diraxy 11

interview story of Kurt Cobain it is superfluous to explain what I mean. It is a cynical and even provocative affirmation, born the day when I wondered how Cobain would have reacted if he had lived in a society like the present one, in which everything he has always hated is often taken to the extreme. The title should not be interpreted as a sentence, but rather as a food for thought... What then is a bit the role that I would have all my songs.

When did you realize it was time to do become a soloist?

The positive thing about playing in a group is that we often enrich each other. Everyone brings with them their tastes, their experience and musical sensitivity. When you create the right alchemy, the result can be truly surprising. On the other hand, however, we often have to compromise and sometimes we end up wondering what the result could have been if everything had been done in our own way. Perhaps now, as far as

Rai Lorenzo Raimondi, aka Rai, despite having landed in electronics and shoegaze does not forget the grunge roots and gets out Aveva ragione Cobain.

Given that Cobain was right, on what, in particular?

Cobain was right about many things... In the song that gives the title to the lp, however, two are specified in particular: weapons and chemistry. If you know a little the 12

Why did you open your own music studio, the Micro Silent Studio?

At some point in my life I felt the need to have a place of my own in which to take shelter, gather ideas and fix them in space and time. From here the Micro Silent Studio was born, a studio of homemade music production in which I create, mix and experiment.

Micro because it is located in the corner of a small room, where all my equipment is arranged in such a way as to optimize the overall dimensions. Silent because I often work there at night and find myself in a condominium, I happen to do most of the headphones.

That’s how my record took shape!

In addition to having also mixed someone for other bands and musicians, at the moment I’m working in the Milan area of ​​audio production for Sofar Sounds, international format of secret concerts.

I’m concerned, the time has come to take away this curiosity. Taking care of every aspect of my project is ten times more challenging. But just as gratifying, when you see your ideas take shape in the way they are imagined.

Do you recognize yourself in the definition “retro pop + electronic”?

Yes, the sound of Cobain was right born of years of music that I lived in. Thanks also to my work I came in contact with many bands and this gave me the opportunity to compare myself with many different realities. My ratings have changed over time and I have evolved. Some have slipped away making little noise and without leaving too visible traces, while others have remained etched in my cultural baggage that I always carry with me. Here, they are all these sounds that make up the record, held together by an amalgam of synth and electronic rhythmic straight and not very glossy.

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interview

Rita Zingariello Il canto dell’ape is the third album by Rita Zingariello, singer-songwriter from Puglia.

I would start with the title and concept of the cover: can you tell me how they were born?

A friend of mine has given me the nickname of Queen Bee because she says I remember her this special animal that loves being surrounded and loved in a unique and univocal way. I would like to see who would not want it :) From this joke a song was born, the song was

born the title of the album and then the cover image, which depicts me as an unlikely queen, with hat and a scepter of paper, sitting on a throne deliberately low, with an almost austere expression that masks my underlying shyness.

You talk about songs like your “psychotherapy”. What did this record cure you for?

Only once in my life was a psychologist, driven by the curiosity to know me better... we chatted, I did a test and at the end of the me14

and tore a smile. In my records, in this especially, I have searched and chosen sounds that meet these requirements first of all for myself. If I should then be able to stimulate, in the listener, important reflections without becoming boring, my bet would be won.

How was “The Snow Game� born?

From my personal relationship in danger. A story dominated by indecision and the inability to make a choice. When I realized that I had to surrender to the feeling, I wrote this song, inviting the other person to get on the thin thread of my life and risk his balance with me.

eting told me that I could be her assistant :) The privilege of writing songs means finding a fissure from which to release emotions that otherwise I would keep inside, it means emptying me leaving a perennial trace of what I have been up to the moment before writing.

When I recorded this record, I simply took care of my emotions, the one from which I cared afterwards I could not even imagine it. Now I can finally say that the desire to sing it in the world has become one of the best motivations for the remission of a disease that scared me so much.

How are the sounds of your album born?

In reality I am a curious person who likes to join musicians who make beautiful music and I never discriminate on beauty. I listen to jazz and electronic music, classical music and Italian author music, indie pop and indie rock, especially in English. Then I stop there where listening has lightened my heart 15

interview

Furia First album of Furia, composed of thirteen songs, is called Cantastorie. Furia is a modern storyteller who supports his words and his music with visual narratives that are split of reality in which she is the narrating voice, an I who closely observes the incident, giving us a poetic account of the facts, deeds and gestures of the feelings of today’s generation and of the past.

How did you get to this first album?

Thanks to a great Italian lyricist, Maestro Luigi Albertelli. We met two years ago, during rehearsals for a theatrical show. I played Patty Pravo’s songs, including one written by him. He liked my interpretation and he proposed to become my producer. Among other things is also the author, as well as many Italian successes, also Furia cavallo del West, and my name is Tania Furia. Destiny wanted me to meet him and start our artistic partnership. A year of intense work to 16

They are all true stories or otherwise inspired by reality. In Addio Barbie I use the most famous blonde doll in the world to stigmatize the natural transition from child to woman.

Some of the songs tell particularly intimate stories. Does not it give you problems exposing your feelings so openly?

No. Thanks to the songs I find the way to communicate to others what I think and that I really feel.

Through common stories I leave parts of me in my tracks that I think are universal feelings..

get my part out of the author that I honestly did not even believe to have. He taught me how to write songs and had the right intuition to see talent even before it manifested itself. The idea for the concept of the Cantastorie project was born from a sentence that came from a fit of rage in front of a newspaper article. Being a storyteller who tells true stories of yesterday, today and tomorrow was a natural choice.

You chose to get dressed by Corto Maltese and still play with the pictures a little bit. Where does this choice come from?

No games. I’m a serious songwriter. And the choice to dress at Corto Maltese was a necessity to underline my uniqueness. And then the character of Hugo Pratt was a sailor who went to piracy, an anti-hero. And for me being a woman is just that: being an anti-heroine par excellence.

How realistic are your portraits?

In short, the blonde of “Addio Barbie� really exists?

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interview

Tain With alien appearances, funk and hip hop influences, Tain has published Ufologia, his first solo album. You play funk rock, but as a soloist an electronic-hip-hop side emerges. Why this breakthrough?

I love funk, I must say that listening to the Red Hot with Blood Sugar Sex Magic at 16 has influenced me a lot, but from then on I’ve always played in various bands, with the classic training, guitar,

bass and drums. Now that for the first time in many years I found myself without a band, I realized that it was not necessarily a bad thing. I suffered for being left without, I wanted to, but maybe it was time to experiment a bit. I had already started years ago an electronic solo project, only instrumental.

However, it had a very lounge style, perfect music for the summer outdoor aperitif. I’ve never concluded it for now. But the “la” was given 18

to me by a spectacular cartoon called Regular Show. There are some wonderful music in every episode; the sounds used are brilliant: synthesizers 80/90 years and spectacular melodies. I enjoyed myself! I had underestimated the synthesizers. In many songs on the album I have completely replaced them with bass and guitar. This is how Ufologia was born, my first solo project entirely written and played by me. It was not my intention to publish it, I was disappointed by the world of live music in our area between Milan and Como. Now I’m glad I did, regardless of how far it will go.

Where does the choice of the alien mask and the “ufological” theme of the album come from?

Coming back to the album, I wanted to be the protagonist, as if it were the other side of me, the alien side. I think every person has an alien side, the side of us linked to the universe, to the cosmos, where maybe there is another version of us identical in appea-

rance. I have always been passionate about the theme aliens and ufo, it is a way of realistic dreaming, who can deny the presence of aliens? Who can deny that God exists? Maybe they are the same thing, or maybe, simply humanity is disappointing me and this is a way to change point of view.

Or I was kidnapped.

How was the opening track, “Alien Invasion” born?

Alien invasion was born by itself, I removed the filters to the brain and I started writing without worrying about looking too direct. The phrases came by themselves without giving me time to think, I left the control of the hand that was writing to my alien side, looking at the planet as if I were not part of it, as if I were an alien looking from space as we behave.

6/7 pages of text. I had to vent.

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interview

Spread

It’s been a long time since your last album: what happened during this period?

Six years have passed since the release of C’è tutto il tempo per dormire sottoterra (“There is all the time to sleep underground”). And it’s been more than three years since we last set foot on a stage. During this long pause, however, the band has never been lost; our energy continued to accumulate, waiting for all of us to have the time and the mental energy to really get back

into the game. We moved without haste even when we began to work continuously. None of us has imposed itself, our ideas have developed themselves, simply by playing together. The past time has served to avoid repeating itself, leaving space for a new sound. In the meantime we have changed and our music has evolved with us without having to make any effort in this sense.

On which premises was born “Vivi per miracolo”?

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This album did not need any premise, it was practically born alone, improvising and letting the music flow without fixing precise ideas.

After about a year and a half of jam session we have picked up all the recordings of this period. Here and there we found the ideas from which we arranged the ten songs that make up Vivi per Miracolo. A record that tells a little about us, about the miracle of being alive, about giving life, about enjoying life and the sense of transience that even the happiest moments can experience.

What was Alberto Ferrari of Verdena contribution to the record?

The precious contribution that Alberto provided us was more sonorous than artistic, the songs in fact have basically kept the original arrangements. For us it was really an honor and a great pleasure to be able to “take advantage” of the quality and extraordinary attention that made us available. During

the sessions in the studio you breathed a very positive air, calm, we were really in the ideal conditions to give the best. The record was recorded live on tape, playing all four at the same time, without too much anxiety derived from not being able to correct errors in post-production. Here is our greatest satisfaction: Vivi per miracolo will not be a perfect record but it is exactly like that, as we played it, and this thanks to the work of Alberto.

How the song “Trumpolino” is born?

The melody of this song was one of the first to take shape and in some way influenced the sound of the entire album. Let’s say that it is not just the opening track but it was for us the input that made us discover a new nuance of our music. The text is strongly critical of the extremist drift that is affecting not only the United States but also the whole of Europe.

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interview

TrèHùs

TrèHùs publish When You’re Anything But Ok, their first work with a blend of alternative sounds, without limiting the constraints of gender.

How is your duo born and what is the (curious) name?

Our duo was born as a trio in the first 2017 when me and Elvira (our

former singer, however, present in the album) we started writing about our music involving soon after also Luca. Everything was born almost as a game and out of curiosity, starting from a great desire to experiment without too much fear of contaminations only apparently irreconcilable. The name Trè Hùs 22

instead comes from the idea of ​​the “treehouse”, to tell the truth, borrowed from Lorenzo, our friend and co-producer and Luca’s passion for Iceland (Trè Hùs literally means “tree house in Icelandic”, which was well suited to the atmosphere of the project. Hipster atmospheres, but always atmospheres.

On your record there are consistent soul sensations along with electronic developments: what were the sound starting points of the record?

On the record everyone brought a piece of themselves and their own cultural baggage: I (Pietro) started a lot of alternative rock and emo while Luca started from more techno and psychedelic experiences; Elvira has put a touch of soul and 90s, while Lorenzo was a magician in bringing a little groove and giving us a hand to make everything fit in a sensible way. If I

had to give a common meeting point, I would say the Tame Impala.

Soul themes, r & b, electro, hip hop, dance cross each other in your record. But what are your cornerstones?

See above, I am the son of the emo and of the alternatives and only then did I listen for more “soft” genres; Luca, on the other hand, starts from Berlin sounds of the deep house and of the electronics, up to more analogue and retro sensations.

Do you think that your duo formation will be the definitive one or will you change along the way?

At the moment I think we will remain in two, it was a good job already so, but we are stimulated and charged for the promotion of the album!

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reprint

Brian Eno Brian Eno will publish a collection of new, rare and unreleased tracks, Music For Installations, via UMG on May 4th. The new collection will be available in a selection of formats: in fact, there will be the possibility to purchase a limited edition 6CD super deluxe box set, including a 64-page plexiglass cover and a download card,

and as a standard 6CD edition, also with the 64-page book. In addition, it will be available as a super deluxe 9LP vinyl box set, with a 64-page book and a download card. This is the first time that some tracks of Music For Installations will be available on vinyl. Musician, producer, visual artist, thinker and activist, Brian Eno first came to interna24

tional prominence in the early ‘70s as a founding member of Roxy Music, which was followed immediately by a series of critically praised and influential solo albums. His visionary production work includes albums with David Bowie, Talking Heads, Devo, Laurie Anderson, while his long list of collaborations includes recordings with John Cale, David Byrne, Grace Jones. Less popular, though equally worthy of note, are his visual experiments.

These are the fertile ground from which most of his other works have grown; they cover an even longer time frame than his recordings, and in the last decades they have paralleled his musical production. These highly acclaimed

works have been exhibited all over the world. Brian Eno said of the collection: “If you think of music as a moving form, changeable, and painting as an immobile form, what I’m trying to do is compose very motionless music and moving paintings. I’m trying to find in both forms, the space between the traditional concept of music and the traditional concept of painting “. Music For Installations is a collection of new, rare and unreleased tracks, which will be available for the first time on vinyl.

All the material has been recorded

by Eno for use in its installations covering the period from 1986 until today (and beyond) 25

reviews Barberini, “Barberini” Barberini is the pseudonym of the Roman singer Barbara Bigi, but it is also the title of her homonymous debut. The disc, anticipated by the video Le Cabriolet, is sung in Italian and is distinguished by its lysergic and evocative dream-pop.

It opens with the guest, who is actually a permanent presence throughout the record, that is Filippo Dr. Panico, on the opening of L’ultima notte, a slow and rather nocturnal double voice. It continues with a more minimal whales, which exploits the strength of the nursery rhyme and plunges into synthetic waters. Intro elongated for Le Cabriolet, which despite having a common thread made of guitar turns out to be rather underwater. Impression transmitted mainly by the vocal filters, which are repeated even in the slowest but regular Chiacchiere da bar.

Piano, strange ideas and movie criticism in Le produzioni di Hollywood, built on metaphors. Vorrei enters in the superhero mood to play with minutiae. Spku talks about social-virtual worlds, resulting in an almost ambient song.

Astronavi instead returns to the piano to tell astronomical stories, slow and curious. It closes with a crowded Titoli di coda. With a voice that makes you think of easy listening and past decades, Barberini manages to bring out its particularity from well-written and well-finished songs.

Paolo Spaccamonti-Jochen Arbeit, “CLN” Paolo Spaccamonti continues in his high-level collaborations and this time meets in a heavy weight like Jochen Arbeit of 26

ses with Track VII, in which the vibration becomes dominant and dictates the line, in a heavy and menacing gait. Net of a superbly sound creativity, Spaccamonti and Arbeit launch themselves without parachutes on experimental paths as if they had been collaborating together forever.

the Einstürzende Neubauten. The result is CLN, an experimental disc with influences ranging from ambient to broader electronics, naturally with a central part for the guitar. Track I is ambient and introductory, with soft and diffused sensations. Other features of a rather infuriated and extreme Track II, prey to a sort of electrical hysteria. With the Track III the tones are lowered and the times are lengthened, as if passing the first skirmishes the intent was to work deeper. Track IV continues in the underground work, relying on a deep percussive movement that allows the guitar to wander a bit, even if in a subdued and rather melancholic way. With Track V instead, the times are shorter again and assumes as a matter of fact a repeated guitar tour and a slightly desert rock atmosphere. Track VI respects a similar pattern, but with greater separation between the lead guitar and the underlying background (and buzzing). It clo-

Indianizer, “Zenith” Three years after Neon Hawaii debut album, Indianizer publish Zenith, the second work that marks the achievement of a more personal and conscious sound. Characterized by the use of English, Spanish and an invented language, the songs were born from free and wild jam sessions to which the vocal lines were added later, outlining 27

reviews unpredictable structures. The first piece is an incessant Dawn, which develops trajectories ranging from the electric to the psychedelic, leaving however an evident sign.

Acidi guitar riff and some cough announce comes with Hypnosis, subject to a gentle psychedelia, but also inclined to results between the tropical and the tribal, difficult to predict. Get Up!, with a particularly Marleyian title, instead opens with a certain melancholy between dub and gypsy, which is multiplied with the echo in the empty space.

A raging low-wheeled Mazel Tov II, the single, who can count on a hysterical guitar and instincts that make you think of the best David Byrne (assuming there has ever been a worse one). The end of the song instead travels in psychedelic senses that can make you think of the Beatles’ India. The atmospheres of Hermanos Nascondidos are darker, at least at first, at least in appearance, at least until a sort of Hispanic tarantella starts, with

shaky profiles and unsustainable rhythms. Even Bunjee Ginger tries to catch the listener by surprise, with an almost shy start, a sudden explosion, an escalation of confused voices on a rich and deep bass ride. A certain serene tropicality is shown in Bidonville, even if the rhythm section continues to transmit energy in a continuous and conspicuous way, and the song intercepts dub ideas and a guitar solo on high notes. The lp closes with Dusk, in which bass and drums build a solid structure that leaves room for sensations between electro and dub. There is a lot of imagination, inexhaustible creativity and the desire to constantly change the scenery in this new album by Indianizer, in a continuous tourbillon of games, images, sounds and sensations. If you listen you can hardly remain still, but never calm.

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Generic Animal, “Generic Animal” He made his debut with an eight-track album of the same name Generic Animal, that is Luca Galizia, born in 1995. Luca plays guitar with the Leute band from 2014. In his solo album he sings for the first time in Italian. The texts are by Iacopo Lietti of the Fine Before You Came. Marco Giudici, Adele Nigro (Any Other), Alice Bisi (Birthh), M ¥ SS KETA collaborate on the record. It starts from an electronic inflorescence on which rests Broncio, an expression of discontent that is a bit childish but rendered with interesting sounds. The mood of Tsunami is acoustic, the setting is always young, this time in a melancholy way. The melancholic ideas do not disappear even with Zerinol, tenuous and subdued. Curious is the singing of Alle fonta-

nelle, another mixture of regrets and strong emotions alternated with a rather sweet texture, but in this case articulated and with different scraps. Break, especially from an emotional point of view, with Interludio, simple and acoustic, but with a crescendo ending. Some little jazzy feeling strengthens Trenord, another song that uses the canons of the classical song to transgress several rules and move in various directions.

More rhythmic is Hinterland, which turns out to be square but also enlivened by small sound interventions that contrast with the always melancholy singing. Qualcuno che è andato is sideways, closing in a dissonant and singular way. Original and well mixed, the album of Generic Animal makes use of a significant and inspired writing ability, which meets the vocality of Galizia in a complementary way. A significant debut and perfectly in step with the present time.

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live

Tour in Italy Spring is concert time (a bit like all other seasons). Here’s where some of our favorite bands play. Zen Circus carry around their new Il fuoco in una stanza and will be on April 19 at the Alcatraz in Milan, 20 at the Teatro della Concordia in Turin, the 21 in Piazza delle Feste in Genoa, the 27 all’OibHall in Florence , on the 28th at the Rivolta di Marghera Social Center. Punkreas instead will be in Parma on

the 20, at the Campus Music Industry; the 21st at the Vekkio Cinema in Corneliano d’Alba (Cuneo) and the 30th in Brentonico (Trento). I Ministri will play in Turin on the 19th, in Nonantola on the 20th, in Florence on the 24th, in Molfetta on the 27th, in Naples on the 28th and in Perugia on the 30th. Cesare Basile will be on April 18th in Padua, the 19th in Turin and the 20th in Asti.

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audio hi tech

Design and silence

They are called “Solo”, “Amico”, “Duetto”, “Musica” (in the picture), “Ambiente” and so on the Como Audio products, although obviously preferring Dante’s language is a company based in the United States United, which produces audio products with a vintage look but with quality in step with the times. 2.8 to 3.2 inch color TFT displays, the Como Audio products connect to any sound

source and access Spotify Connect, Amazon Echo Dot and Google Chromecast. Prices from € 139 to € 749. If you’re looking instead for wireless headphones that completely wipe out ambient noise, here are the Audio-Technica QuietPoint ATH-ANC700BTs that have built-in touch controls in the headset and a four-microphone multi-feedback system. The price is $ 199.

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video

Universal Sex Arena ft. Luca Ferrari “Horizon of Barking Dogs”

Cartabianca, “Stramalodio”

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CRLN, “Da Capo”

Crisaore, “Quando c’è”

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