Bachi da pietra
Accetta e continua

At their eighth long-distance venture, Accetta e continua (Garrincha Dischi/Sony Music) continues the unstoppable march of Bachi da Pietra aimed at illuminating the darkness of our visions of the world. While the lyrics expand into current affairs, the leaden sound is influenced by electronic nuances, thanks to Batelli’s synth (also on bass), creating a perfect music-grinding machine that is dense and well-calibrated, paced in an adverse manner, in an era where everything races and flees and attention thrives on the superficial, where even our fellow humans no longer have time for each other.

The structural method of the tracks overturns the concept of this speed 4.0 world, where the dynamic contribution of Dorella (drums) emphasizes the gravity and drive of the tracks - the same goes for the vocal work of Succi - ensuring that the Bachi da Pietra mechanism truly confirms itself as a leading force in Italian rock music, standing out for its originality.

But Bachi’s sound is not just rock; they embody various genres: metal, pop, art rock, dance, adaptable to the listener's interaction and immediately captivating. The influence of the past Reset (2022) reverberates in some tracks of Accetta e continua, not severing that inspired creation from its unconstrained stylistic, harmonic, poetic prompts, reaffirming with even more exacerbating tension and unrest the abrasive mood and launching grenades of depth through Succi's vocal timbre, who elevates the reach of declamations, achieving a musical marvel that shines mixed with the sonic refinement released by his comrades: an example is given by "Nel mio impero", where the man-machine, man-technology conjunction is pushed to an extreme in a subjugated relationship where each, in an unequal form, has their rewarding return.

In correspondence with the previous, "Mai fatto 31" opts out of the social life trends and that personal bent that belongs to many, that of being know-it-alls. The track seduces for the masterful crossing which relegates to an intense musicality.

The sequence of pieces continues irresistibly. Probably the 'victims' chosen by Bachi in "Buster Keaton" are music critics; they decry the work of the parts (musicians and critics), well distinguished in functions and outcomes (ouch!), as brilliant in acquiring the metaphor employed: adopting the famous silent film comedian (proverbial as he never laughed). Thus the sad BK, icon of laughter, would be identified in Bachi, while critics would be those who judge (mock).

"Un lampo e noi" excites and raises vigor and participation thanks to the bass pump discharges, tickled by the guitar's dissonances and impressed by the drumming's dexterity, leading to a spiritual gleam from cine-brivido, with the positive factor of emotionally pushing the pathos to the top and stationing along a cathartic suspension in the ozonosphere. Enjoyment guaranteed, at least until the end of planetary combustion – boom, "Basta poco, che ce vo' ! (Cit. G. Covatta).

"Invano" is reborn from the depths and the changes experienced so far. A fascinating and kaleidoscopic nightmare with the infernal hues of unknown worlds after death, or parallel to them. In the conceived heavy mood, the conglomerations dissociate within a thick/ethereal dissolving and attractive patina, due to the vitreous electronic blasts (they also shine in the almost punkcore of "Al belcanto") that overwhelm like an avalanche and the psychedelic-wave carries a frightful disturbance, inventing an exceptional horror-glamour.

"Al becanto" is beautiful as a poisoned apple. The poetry falls into the unhealthy, then into the psychotic, finally crashing entirely into the revolting chronicle. The track is a shocking journey, caught in the synth spiral and the relentless beat of bass and drums that drive a nocturnal manhunt (for a woman!) mercilessly, whose ending is lobotomizing. The visions, condensed here, turn on a spotlight that personifies a certain mental illness observed through their lens. Bachi position themselves beyond the mere artistic act, crossing it, bringing themselves (Succi as the leading actor) to the forefront of the theater of inhumanity.

In the final triad, which lines up "Mussolini", "Fuori c'è il vicino" and "Accetta e continua", the escalation undergoes an increasing order of intensity until reaching the acme. "Mussolini" advances hypnotically, distressing, Giovanni Succi maintains the morbid aplomb and lucid emphasis with the powerful characteristic singing, dark, suffused. It's heavily laden with irony, admirable cleverness rich in sarcasm and denunciation of clichés, mocking the Duce and the system: "Super trend, top twenty/ Always trendy, '30s, '20s/ Those were indeed successful marketing" - and again - "A righteous man, a lonely man/ A strong man, a new man/ A peasant in the countryside, a futurist in the city/ A beach admiral, a Romagnolo in tails".

"Fuori c'è il vicino" accounts, perhaps drawn from a chronicle fact (this world’s violence is represented on this album because it flavors our daily lives), of a disastrous, catastrophic and extreme situation of dizzying contrast; on the one hand, surpassing civil living flowing into pure homicidal hatred, and on the other, curbing it with conscience, reason keeping the impulses directed towards the irreparable in check.

"Ora fuori c'è il vicino, completamente fuori/ Sbraita alla mia porta, ce l'ha con noi/ Siamo io, la mia donna e il bambino/ Chiusi dietro questa porta, e fuori c'è il vicino ...// ... Tengo chiusa questa porta o mi rovini il destino/ Dare a mio figlio un padre o un padre assassino". Succi, from offstage, enters absolutely in symbiosis with the offered sonic scenography; the drum's beat proceeds excessively sinister and strongly realistic.

At this point, the title track literally explodes liberatingly, magnificent and rock-ultra; it feels necessary to thank for such a sonic breath, provided with such a deadly rhythmic setup – the bass riff is a merry-go-round saving us from the abyss – over which stands Succi’s powerful rough singing and searing guitar. Here we reach the acme!

A load is put down that serves as a trump card and devastatingly delights in commonplaces, fascisms, banalities, digital submission to web masters, invaders and plagiarizers of minds, know-it-alls, jesters, malignants, oppressors, and ruffians of all kinds... the phrase is Hamlet-like and witty:

"History is divided into a before and an after
Abandon or accept and continue
No alternative, it's either this or that".