Dance Gavin Dance
Mothership

Unknown, probably non-existent in Italy (considering the number of reviews dedicated to them).
Moderately appreciated within the Post-Hardcore scene and for years now among the standout bands of Rise Records (thanks in part to some supporting tours with far more renowned names), here are Dance Gavin Dance. No more appropriate name could exist for the genre they propose (right now, as I'm writing this review, I'm listening to "Young Robot" and can barely keep my body still).
For those who don't know, Dance Gavin Dance offers an interesting blend of musical genres (from jazz fusion to pop, not neglecting hints of emo and screamo); to keep it brief, we'll summarize it all with the term mathcore. For those unfamiliar with their repertoire, I refer you to two of their best works, "Downtown Battle Mountain and "Acceptance Speech".

And so, among the many gems of this 2016 now coming to an end, there is also space for "Mothership", the latest effort from the Sacramento band. Released just over a year after the previous (and in my opinion, half-successful) "Instant Gratification", this work definitively decrees what the group is, without carrying any particular innovations. but defining the musical and artistic concepts they belong to.
With maturation reached, they continue undeterred to delight us with successful and well-calibrated songs, halfway between experimentation and hardcore attitude, pouring onto us listeners some of the cornerstones of their style, including the schizophrenic lead guitars (a true trademark of the group), ambient-flavored passages, and a desire to seek sounds increasingly leaning towards chart pop (where in the previous full-length they had let themselves go a bit too much), thus benefiting in terms of listenability.
There's nothing missing from the proposed menu, from the experiments of "Young Robot" and "Here Comes The Winner", to calls from the past with "Frozen One", the fury unleashed on the unfortunate recipient with "Petting Zoo Justice" and the excellent "Deception". It's hard to find dull moments in these forty-nine minutes of tracklist; each track enjoys its own recognizability, and it is also thanks to this that I consider "Mothership" among the most exhilarating moments of their career.
A special mention must be made for the excellent guitar work by Will Swan, historic founding member of the group (definitely in shape in this work playing the most complex guitar parts of their entire discography), and to the production of the album, entrusted to Kris Crummett (already known for his work with Sleeping With Sirens and Alesana).

If you love elaborate compositions, arpeggios with a faint jazzy hint, and clean vocals, listening to this band and particularly this latest work is a must. For others, don't be influenced by the name of their record label and give them a listen; it might benefit your musical background and thus they are highly recommended.