Betty Ford Center
Uncool

The most famous clinic in America continues to host obsessive characters like Jill and the new Miss Borderline, yet always celebrated and intriguing subjects.
Yes, the band returns with an EP titled "Uncool", against trends, like a stone thrown against a mirror, against the pretentiousness of the indie world, against polka dot skirts while strangling someone with a colorful tie or choking them with a neon bar down the throat while shouting these new fantastic pieces.
The cover is placid and raw, like the same anorexic girl in the photo curled up on the ground with impeccable black nail polish on her feet. This is an excellent summary of the work bursting with blood-like tones, like the heart-shaped pillow stabbed, because that kind of violence is completely crazy and prima donna.
The Betty Ford Center continues their crusade against those who use music for what it is not, namely something stylish like Velvet Underground printed on fashionable t-shirts and various bags (soon enough it will be cool to even see the syringes Cobain used).
Real music has no style, more style,  but it strikes the heart and flips off the entire emotional system!
The previous work "Enjoy The Rehab" was another bomb with crooked melodies that never left one's mind, a demo that didn't seem like a demo and Uncool continues down that path on that yellow brick road devastated by a new hurricane. Five tracks that take  the listener back to the 90s,  because the 90s can never be done without, especially after this EP!
This time the work is entirely produced by Matteo Cifelli, the man attracted to bands of mental deviants (as Lucia Rehab loves to quote!) an excellent accomplice supervisor of Betty Ford. The sound is highly professional yet at the same time genuine and edgy with supremely original stylistic composition worthy of a great personality, it really seems like the band has lived within the walls of the famous Californian center.
It opens with the devastating "Jill The Ripper" while Lucia screams desperately as if she had drunk cherry syrup mixed with acid, Tiziano ravages the drums and Max creates highly defined embroideries with his bass!
"Pets Fight" sick and provocative is obsessive, different from the previously proposed live version, slightly  frantic, with a less explosive start but even more unsettling and the anguish rises in a never-ending spin cycle. While listening to it, one can't help but think of the claustrophobic atmospheres that dominated the Hudson house, because Bianca and Jane are actually still trapped in there unaware that it will be a fun and eternal sentence!
The claustrophobia erupts again, after the animals' fight, in the Indie Die anthem, the pig's blood thrown on Carrie in Stephen King's famous novel falls on the queen of the situation, with its fresh smell splattering everywhere and hell breaks loose, Carrie won't come out alive while Tiziano hits harder and harder, a perfect explosion.
"Silly Pop Song" is the penultimate gem, the "ballad of the record," anything but a ballad, it's a fascinating yet devastated woman who loves to bloody her lace at night, who starts whispering in your ear but can't help but explode accompanied by a noise tail worthy of the best Sonic Youth and the famous Pretty On The Inside by Hole, because it's a liberating outburst, because it's therapeutic because after all it's always about rehab, and here indeed comes the already famous hit "Miss Borderline" re-recorded in a more professional yet equally edgy and above all explosive version, that's why it pleases! The queen of borderline!

After such a listen, personally, I never want to leave rehab again, the one that opened its doors with "Enjoy the Rehab," because the world is corrupt and dirty and the Betty Ford Center is the right cure, like continuous doses of eternal methadone.