dy Mellory, on guitar). Further away from rock-grunge coordinates that had characterized the early work, Marydolls are moving now towards closer atmosphere to the Italian indie-pop scene, albeit maintaining a rock attitude and leaving plenty of room for experimentation.“ We come from half-life( played) together. From high school with the first“ gypsy” live at sixteen, up and down Italy and the nights in the van... Dawn of thirty years, always with the music in our heads. Thirty years is all a bit different and“ Tutto bene”, our third album, marks this step, this new awareness. Do you know that feeling that the more time passes, the more you seem to take from questions only assists other questions, accumulating one over the another? All you can do is probably telling yourself: it is all right... For us this is a sort of mantra that we repeat in the head, not to lose ourselves, to stay alive. Because if you were twenty and promising,
now you have to keep your promises”. Lp starts from the single Voglio essere giovane, an anti-anthem that starts slowly but rises quickly enough. High is the electricity level with Dimmi la Verità, song with intense and almost garage resonance, with good doses of cockiness. Summer protests and electronic sounds, but also violin and drumming for a dismal D’ estate al mare, which has a vehement and effective chorus. Submission, travel and relationships are at the core of the lyrics of Lei dice, proceeding with march rhythms and pop influences. Stelle cadenti requires a stronger pace, but also better built and variegated sonorities. It then goes on Tutto bene, title track with a vocal loop that dips into electronic sensations and that spreads a bit claustrophobic. After the rapid Intervallo, here is Berlino: indie tones, widespread electricity and a construction that grows gradually, taking the side of both explosions and intimating galleries, with some flash of Hammond. On the contrary, it comes the fanfare in the country in introducing C’ è chi. Then here comes the acoustic guitar and a list that makes clear reference to Rino Gaetano. The soundscape then thickens and becomes richer. Oggi mi butto opens with acoustic sounds, but switches to pop scenarios very quickly.
review
dy Mellory, on guitar). Further away from rock-grunge coordinates that had characterized the early work, Marydolls are moving now towards closer atmosphere to the Italian indie-pop scene, albeit maintaining a rock attitude and leaving plenty of room for experimentation.“ We come from half-life( played) together. From high school with the first“ gypsy” live at sixteen, up and down Italy and the nights in the van... Dawn of thirty years, always with the music in our heads. Thirty years is all a bit different and“ Tutto bene”, our third album, marks this step, this new awareness. Do you know that feeling that the more time passes, the more you seem to take from questions only assists other questions, accumulating one over the another? All you can do is probably telling yourself: it is all right... For us this is a sort of mantra that we repeat in the head, not to lose ourselves, to stay alive. Because if you were twenty and promising,
now you have to keep your promises”. Lp starts from the single Voglio essere giovane, an anti-anthem that starts slowly but rises quickly enough. High is the electricity level with Dimmi la Verità, song with intense and almost garage resonance, with good doses of cockiness. Summer protests and electronic sounds, but also violin and drumming for a dismal D’ estate al mare, which has a vehement and effective chorus. Submission, travel and relationships are at the core of the lyrics of Lei dice, proceeding with march rhythms and pop influences. Stelle cadenti requires a stronger pace, but also better built and variegated sonorities. It then goes on Tutto bene, title track with a vocal loop that dips into electronic sensations and that spreads a bit claustrophobic. After the rapid Intervallo, here is Berlino: indie tones, widespread electricity and a construction that grows gradually, taking the side of both explosions and intimating galleries, with some flash of Hammond. On the contrary, it comes the fanfare in the country in introducing C’ è chi. Then here comes the acoustic guitar and a list that makes clear reference to Rino Gaetano. The soundscape then thickens and becomes richer. Oggi mi butto opens with acoustic sounds, but switches to pop scenarios very quickly.