our frontman. As for the concerts, we have
already played in some of Romagna’s locali-
ties, and we count on spreading our work as
much as possible. In our repertoire, about two
hours, there are no covers.
Who is or who are the Italian independent
artists that you most esteemed at this time?
Livia Ferri and Brunori Sas.
MoMa track by track
The album opens with the ballad Tasteful,
with rock-blues influences and sentimental
and extravagant streets to go. More direct
Running Free, which aligns some nostalgia
for the 80s rock with good bass lines. Dim-
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min ‘Night makes a precise choice for a ro-
mantic and classic ballad. We start again with
the 21st Century Battle Hymn, which ma-
kes noise especially with drumming, accen-
tuating the rather daring danced pace with
the guitars. Until brings tribal and ancestral
rhythms, with references to American Indians
(or similar), then slamming into an aggres-
sive rock. Pain in Beauty also carries a good
amount of rancor and baldness, reinforced by
guitar interventions. D’Ya Turn Back insists
on rocky tones, but with some inserts of dif-
ferent nature, with paced changes and curves
that widen, leaving room for voice. The bass,
along with a series of keywords related to so-
cial networks world,
opens Your Face is
like a Tweet. It con-
tinues with Rock
& Bacon, which
brings the climate
to more serious and
almost solemn tone.
The record ends
with Over, which
uses the voice of
Marica Ferri to give
a more intimate and
different tone to the
final ballad. Good
work for MoMa that
in the new lp show
all of their varied
souls.
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