Fluxus
Non Esistere

THE REVIEW

For those who loved the 2002 self-titled album, the Fluxus of "Non esistere" (their second work) are another band. On the other hand, after the excellent debut with "Vita in un pacifico nuovo mondo", we find them here still strongly anchored to their heavy hardcore and noise roots, far from the change that would partly begin with the following masterpiece "Pura lana vergine".

"Non esistere" was recorded in just twelve days (according to punk practice) at the studios in Cascina (Pisa) with contributions from people like Roberto "Tax" Farano on guitar and Marco Mathieu on bass, standard-bearers of the Turin and entire Italian hardcore punk scene, who gave the record a greater weight compared to the debut. Not to mention the contribution during recording and production phases of Iain Burgess, an English guru famous for leaving his signature on many records of the Chicago post-punk scene between the '80s and '90s, working with bands like Ministry, Cows, and Didjits.

If the group's music is a punch in the stomach (even more so in live performances that at the time exalted the hc attitude of the Fluxus and impressed not a few bystanders), the lyrics, shared by the two leaders Franz Goria (vocals) and Luca Pastore (bass), are no less.

There is, of course, a lot of social and political protest, strongly rooted in the bands of that scene, with lyrics that, however, are sometimes still a bit cryptic or concise ("Luce acida"), without the expressive force they will extensively reach in the following record.

Those peaks are only touched upon in the initial "Veldt", whose structure will be resumed and improved in "Latte", the dazzling beacon of the subsequent "Pura lana vergine", and in the title track "Non esistere", a rhythmic train with a rock and roll (but always hc) imprint and the best track on the album, contagious in its face-shouting "...non riesco a non esistere!".

Otherwise, there's a lot of fury and wickedness in hardcore protest shards ("Immagine di un cane enorme", "851") that reach a climax with the ferocious "Sono fuori di qui", the heaviest thing you can find on the record.

While some partial variation on the theme lies in the alienating and hammering "Noi galleggiamo nel vuoto", ready to wrap itself in a hypnotic spiral that also affects those who listen.

A musical transition album that will certainly make (and has likely made) fans of the genre happy, but that still does not represent, as already mentioned, the band at the peak of inspiration.