For Food – Do not Believe in Time (Fooltribe, 8 t.)

For Food – Do not Believe in Time (Fooltribe, 8 t.)

A constant dirt gives way to the distortion. DIY, lo-fi, the EP Snow consequences as if, observing Ferrara, did not reflect the only disillusionment, but the need to grow, to follow the mold canons 60’s  70’s without getting stagnant with his music arransement. For Food for an album like Do not Believe In Time reveals similar findings by illustrating how it can move between folk and voodoobilly (City Lights) and simultaneously start his own business once Came To the spirit of Nico (Twin Pigs), as you can range between tribal-psych-garage snapshots (Love Sex & Drugs) and rock rides (Opium New Year), as you can even draw liberally from the spirituality according to a shift that goes from a Boom (Indian proto-punk) to a blues hallucinating (Snow) and thus reach the zenith with acidic funeral marches whose inkling mariachi is dissipated giving way to a final unbalanced (Le petite mort). Do not Believe in Time, in fact more than the past is the future that matters, and feels not a little in these notes. Of utmost respect.the contour winds, once you presents for your feet, in a context in which the arches that envelop a poignant closing Ninna nanna represent the right finishing touch . A confirmation of a lone voice now more than ever worthy of relief, a return trip that deserves more of a chance.

Brothers in Law – Raise (WWNBB, 8 t.)

Ascent gaze between pad ethereal suspended in a parallel dimension. The second feature of the Brothers in Law, Raise, resumes the speech of the former Hard Time for Dreamers, but broadens the sonic boundaries http://sewa-organtunggaljakarta.blogspot.com. Even more than the previous album, in fact, the Pesaro band highlights the layering of sounds, arpeggios, harmonies between guitars, vocals and keyboards, creating an extremely dilated acoustic space and a wall of sound, present from the first song (Oh, Sweet song), which reaches its highest moments in Middle of Nowhere and Through the Mirror. In No More Tears, nestled between the riffs and melodies, it emerges a rhythm section that, as in certain passages of the toy or of Horrors, transforms and grows until it explodes in the final, wrapping the listener. Raise, therefore, highlights a meticulous sound research, both in the production phase of the composition, being one of the most convincing examples of Italian nu-gaze. Daniel Sappino

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