review
a little everywhere along the way. Surprising
is the cover of the famous Non è Francesca,
timeless hit by Lucio Battisti who here dresses
in darkness and revenge. Io ci sarò lowers the
lights suddenly and stands by melodious hin-
ts to assume a narrative and nostalgic attitu-
de. We come back to very robust sounds with
Quello che i miei occhi non vedono. Instead
Sweet Home Roma Est looks like a moving
photograph, with an interesting bass loop.
With Che sarà di noi we return to a soft atti-
tude and talk of nostalgia of a past probably
not too far. The song starts with very melodic
feelings on the first, but then explodes in par-
ticularly loud screams. The ending is a kind
of quotation from Rino Gaetano but in an
overwhelming and obscure way. Black and
long resonances, and even a little new wave,
penetrate Daimyo, which alternates perme-
able phases to other toughest layers. Here’s
X, more straightforward though willing to
return to some hip hop influence. The clo-
sing, Sottovoce, holds true to the title, with a
piece full of melody accompanied by acoustic
guitar. An album with many souls, the one
of L’Ora X, which focuses on the various in-
fluences and achieves a good result.
l’ora x
great names of the nu metal of the 90’s such
as Korn, Limp Bizkit, Nonpoint, Adema and
Deftones, without forgetting the influences of
Italian band of the likes of Timoria and Linea
77. It starts with Animae, which has metal
sounds with goth influences and a sung / rap
in Italian that is not respectful of the bounda-
The Mangano brothers, already in Yattafunk,
under the name of L’Ora X, publish Sotto-
voce. Alternative rock/metal sung in Italian,
powerful guitars and a genre inspired by the
20
ries between the genres and sometimes melo-
dic, sometimes in a tight, sometimes scathing,
metal howl. Lebbracadabra, as well as with
words, plays with the power of guitars, in a
song that is powerful and electric to the hi-
ghest degree. Gaius Baltar tries to hold back
the instincts, but the explosions are coming
21