Gotthard
Lipservice

On the beautiful cover of their latest live album, two plump black and white cows are mating in some Appenzell pasture, under the emblematic title "Made In Switzerland." Switzerland, indeed. But this time, it has nothing to do with the wonderful Alpine horns or the unsettling beings of the species known as DJ Bobo. This time it's about hard rock.

Gotthard (which, in hindsight, is a brilliant name in its obviousness – for those who don't know, the St. Gotthard is a massive mountain with an essential tunnel) were born in 1990 in Lugano – now also my birthplace, but perhaps that doesn't matter. Gotthard... let's clarify right away that I started listening to them out of curiosity, a good word from friends, perhaps also due to this musically exotic origin (which was also of a certain Patrick Moraz, let's not forget). The rest was done by a poster, which for years and years I have seen hanging in a tavern in Lamone – the one with the lightning bolt, to not say the name – "Live at the Champs-Élysées, Gotthard in Paris" ... well, not bad. I thought, they must be good. To this day, I'm not a deep connoisseur of theirs; undeniably there was some online research for names and who knows what else. However, what I've listened to and will try to comment on by my own accord, based on feelings, does not disappoint, no. Really not bad, bloody hell (it was fitting, come on). Sure, it might make more sense to review their first albums, the ones where bands generally have more to say, the ones where the heart might not yet be paired with professionalism, but that's that (despite the very... well, unattractive cover).

In fact, with "Lipservice," the sweetness pursued in previous works was partly set aside in favor of a more energetic hard rock closer to their beginnings. However, melody and sweetness often permeate the Swiss band's songs, known also for their touching ballads (examples being the beautiful "Heaven" and "One Life One Soul"), so much so that they convinced the record label to release a collection of these, which I recall seeing prominently displayed years ago in a department store in Lugano, a tangible sign of their success at home.

Released in 2005, "Lipservice" is thus the latest album of new material by our guys. The first track, "All We Are," already hints at the vast repertoire these guys have. A crisp intro by drummer Hena Habegger, melodic guitar phrases (played by Leo Leoni and, as second, Freddy Scerer, replacing historical member Mandy Meier) and the attack of Steve Lee's objectively beautiful voice (completed by Marc Lynn on bass). Other compelling hard rock examples are found in songs like the beautiful "Anytime Anywhere," great riff and driving vocals, "Cupid Arrow" (very guitar-centric, like the entire work, after all) and the short and intense "Lift U Up," as well as in "Stay For The Night," which echoes of hard rock from the past. The Swiss have often been compared to sacred monsters; some see them as heirs of Def Leppard, others as inspired by Deep Purple. The truth is they are a beautiful contemporary reality, little known within our (remember, I'm Italian, after all) borders. Along the same hard line are the fierce "I'm Alive," "Said And Done" (almost robotic in its guitar work, interesting) and the somewhat cheeky "The Other Side Of Me," still striking, especially for the solo.

But melody, as mentioned, brings two captivating tracks, likely central in one of their roarous shows (this is a band known for their great live performances, if I get the chance, I'll definitely catch one, oh yes yes): the first is the captivating "Dream On," truly remarkable. Then there's "I Wonder," with a great arrangement and a chorus that stays stubbornly in your mind. A nod, as mentioned, to the ballads: "I've Seen An Angel Cry" (featuring a keyboard, wow) and, why not, "Everything I Want" (which gives me a vague sensation of Bryan Adams not just in the title) are two examples of hard ballads, advancing and precise, excellently interpreted and supported by always incisive guitars. Beautiful acoustic strums open "Nothing Left At All," a beautiful song with notable melodic lines. The album closes with the delicate "And Then Goodbye," voice (stunning) and guitar: poignant. And 14. I did it.

Beautiful album, therefore; excellent performers and a nation that (rightly) venerates them. My perhaps unworthy review (a fan is a different thing, after all) wants to be a tribute to a band and, why not, to a country that has given me so much. Dedicated to my mother, who left a small part of her heart beyond the Gotthard.