Discomostro
Mostropatia

The return of the sewer isn’t so bad if you get used to the smell. However, one can never get accustomed to their reflection in the mirror.

It is equally true, though, that from resignation arises the last, desperate form of self-awareness. The Discomostro know this well, having reached the final chapter of the 'trilogy of survival'.

Perhaps that's why, for the first time since "Mostrofonia" (2016, professional punkers rec.), Carlame’s (ex Skruigners) creature gathers strength and clarity to shift focus away from itself and engage with its context ('Gelato').

Blending into the crowd, our protagonist has all the time to observe the vices and virtues of a genre deteriorated by its flawed nature, painting a formless, vivid portrait now plagued by doubts over its choices ('Temporale') and now by nostalgia for something that is no more ('Madrid').

It is neither anger nor despondency. It's an open-heart sentence. When not threatening with its rhythmic and precise hardcore, it jests with its rock’n’roll inserts, reshuffling the deck and rewriting the rules of a freak show featuring the paying audience.

Then, seized by the frenzy to embrace it at all costs, with an uncertain but ultimately stitched-together demeanor recalling its more troubled past and realizing just enough the distance separating it from its peers, the monster reassembles piece by piece, stands on its own legs, and makes its way with a lurching step along its path, relying on the instinct that leads it to the familiar return of the sewer.

A scent of home, surprising right in front of the mirror.