our frontman. As for the concerts, we have already played in some of Romagna’ s localities, 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. Dimmin‘ Night makes a precise choice for a romantic and classic ballad. We start again with the 21st Century Battle Hymn, which makes noise especially with drumming, accentuating 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 aggressive 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 different nature, with paced changes and curves that widen, leaving room for voice. The bass, along with a series of keywords related to so-
our frontman. As for the concerts, we have already played in some of Romagna’ s localities, 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. Dimmin‘ Night makes a precise choice for a romantic and classic ballad. We start again with the 21st Century Battle Hymn, which makes noise especially with drumming, accentuating 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 aggressive 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 different nature, with paced changes and curves that widen, leaving room for voice. The bass, along with a series of keywords related to so-