HOBOS///
Good Road To Follow

I already told you two years ago about the debut album of the Hobos, a valuable musical entity from my Domodossola.

At the end of 2017, their second work came out, and I took the opportunity to interview the leader, and friend, Marco; a nice chat and an exchange of opinions on the album Good Road To Follow. This is the full report of our meeting.

1) Hi Marco; thank you right away for the time you've dedicated to me and especially to the Debaser community. I would start right away with your introduction, including the vast musical experience you've built in nearly twenty-five years of career. Please remember only your most important bands so as not to go on too long, or this interview might end with this first question due to space issues!! (a big laugh from me).

Hi Lorenzo; I've been playing and around, as you say, for over 25 years. I've played in many bands of the most diverse genres; among the most important are definitely Fuzz Fuzz Machine and Cowboys From Hell. In terms of listening, I'm really omnivorous: I go through periods of listening to Electronica, Country, from the most radio-friendly Pop to Metal or Bluegrass. I've never set limits for myself.

2) It's your second work following the equally positive debut two years ago. Let's say that this time I was prepared for the sound of the Hobos, after the huge surprise I had when listening to the previous album. A sound, that of "Not a Safe Place," completely unexpected considering your "metal" background. Do you want to tell us about the genesis of "Good Road to Follow," which I found much more polished and above all varied in sounds, arrangements, and production? Noteworthy, in this regard, is the excellent work of your friend and colleague Michele Guaglio.

As always, the second album for a band is not simple; we wanted to make a record without boundaries, experimenting with genres not touched in the previous work, but trying to maintain our own recognizable style. The album is objectively more polished in arrangements and production; let's say we took the necessary time for its preparation, not missing "gems" like the string quartet arrangement made by Michele on the title track.

3) We know each other very well, and you know that I don't understand a thing about technique, unable to distinguish a single note on the staff; so I have to rely on the sensations I get from listening to a new album. And these sensations start already from the cover, from the title you chose: the journey, a road to follow. It's necessary at this point to ask you about the themes discussed in the songs, the construction of the individual tracks both from a musical and lyrical point of view. Did you get help from a native English speaker in the always complex writing?

I can undoubtedly tell you that the album has a recurring theme: finding, seeking a road to follow. In various aspects that may be musical, personal, or even on a more global level. Regarding the English lyrics, we rely on our bassist Paola, who graduated in languages; indeed, she wrote two of the ten tracks on the album.

4) Let's get to the heart of the interview, namely the tracks present. It's a work that doesn't reach forty minutes for ten pieces all written by the band; and here I have to open a small "sore" note because I would have seen very well within the album, as in the debut, a cover maybe by Primus. I say Primus because in the second track "Ugly in the Morning" I seem to hear, with great pleasure, an acoustic-country version of my very personal champions. I also noticed in the listening that your famous electric guitar "solos" are almost entirely absent; you focus more on continuously varying the sound of your six-string instruments. This sort of expansion of your musical horizons could be driven by the change of drummer? To me, Alberto's drumming seems more varied compared to even the respectable work behind the skins of Max in your debut dated 2015. Can you confirm my impression?

Initially, we wanted to include a rearranged cover also on this album; unfortunately, we couldn't find one in time. But now, in live performances, we've decided to play "Sailin' On" by Bad Brains (WOW!!!) which unfortunately came to mind after finishing the album ahahah!!! I must say that, in fact, I focused more on the songs and arrangements than on the solo guitar parts in this work; surely also Alberto's arrival in the group and his different approach to drums contributed to the much more varied stylistic orientation of the album compared to the debut.

5) Last question. Listening to it, I hear a lot of influences: from Foo Fighters of the initial "Future," smoothly transitioning to the sunny and intimate "Good Road to Follow" (with an ukulele reminiscent of Eddie Vedder's solo works). Without forgetting a certain Indie-College-Rock that emerges powerfully in "Superhero" sung by bassist Pably: and here the Bostonian sprites Pixies literally sprang to my mind. My enthusiasm rises in "Black Shore" and the closing "Before I disappear" when you let go, unplug, reaching delicate shores with a bucolic flavor. And, particularly in the last track, a certain lush Pop reminiscent of the Beatles appears; and also something of R.E.M. just to close the circle. I imagine you think exactly like me!!! (please don't disappoint me...).

I'll be very quick because I think like you! ahahahah! ^_^ Jokes aside, I believe you've hit the target perfectly with your analysis, which I fully share.

We've finished this conversation a bit "unbalanced" on my part; give it a listen because it's really a work of admirable quality.

Ad Maiora.