C+C=Maxigross
Fluttarn

Let's get used to listening to the few Italian groups that deserve to be listened to. Let's appreciate and enhance the little good we have at home.

Fluttarn is an album that could (and indeed is) easily be appreciated anywhere in the world.

An internationally-inspired work that was missing until now for the band from Lessinia.

Complete, mature, and easily enjoyable from the first to the last song. Thought out, studied, but not heavy because of it. It's simply the perfect balance.

The important collaborations they have managed to weave over the years (Marco Fasolo, Miles Cooper Seaton, and Håkon Gebhardt above all) weren't accidental. They learned from their elder brothers how to fine-tune, trained, and honed their skills, gaining confidence in their abilities, as well as an international approach just so.

Beatles-esque harmonies intersect with Barrett-esque guitars, old-style organs, and a rhythm section that is never banal. An album that's rock, varied, unpredictable, dynamic, effervescent, but fundamentally rock. The folk roots are only felt in the very brief initial a cappella chorus, almost a tender farewell to "what we were."

The triumphant "Born Into It" precedes the playful "Bruce Skate," with a lysergic and mysterious ending. What stands out the most are the strong melodies characterizing each piece, which, however, never fall into the radio jingle. It's pop while not being pop. Hard to explain myself. "Est 1973" is the perfect example of this.

Absolute masterpiece: "An Afternoon With Paul".

In short, white flies on the Peninsula, where in recent years the technical and musical level, in terms of a valid cultural proposal you understand, has dropped significantly.

Let's be clear, the internet, bedroom-recorded albums, micro-labels, have brought a lot of newness and fresh air to the Italian underground rock scene, which in the '90s had settled for the usual three or four big names and a myriad of satellites that stayed in the shadows.

But at the same time, how much crap has emerged from the hole?

And I'm not talking about generally well-known groups (I don't even consider talent shows), I'm referring to all that undergrowth we're used to hearing at city festivals and in the various rock clubs that have survived, from which C+C=Maxigross come. Out of this entire scene, the bands worth saving can be counted on the fingers of one hand (not two).

Live then, they've transformed, from the unfinished, dazed sprites they were, into a battleship, what more could one want?