Marlene Kuntz
Bianco Sporco

"Dirty White" is undoubtedly the attire worn by our trio for their sixth studio album, perhaps it is the image the group projects for their music.
Perfect might be the color of their symphonies, a mix of sonic delicacy that contrasts with the hysterical roar produced in the intense moments of the songs. If so, then it could be a valid design for the entire "marlene-esque" journey, a sound that has always been synonymous with melodies capable of both scratching and caressing.

The Marlenes have never shied away from showing themselves as experimenters (shall we talk about their famous Spores? or the duet with Skin? or the inclusion of electronic nuances in recent years?), but in this case, what one hears is a thoughtful and controlled album that travels at very mellow tempos.
Maturity? The definitive choice of a style? The start of a new cycle? It would seem so, it was already hinted at in the previous album that the group's schizophrenia was beginning to wane in favor of structuring their sound.
Mellow rhythms, whispered tracks, delicate guitar phrases, honeyed arpeggios dominate this album: listen to "Bellezza," "La lira di Narcisio," or "Il Solitario." Certainly, there are no shortages of guitar riffs as demonstrated by tracks like "Poeti," "Nel Peggio," or some endings like "A chi succhia," yet everything always seems to be under control.
Poetry is definitely not lacking, and as always, it is narrated by Godano's voice, whose hand is always a guarantee of wonderful and dreamlike lyrics, an hysterically inspired poet who never misses a beat and consistently continues to surprise with every album.

Nevertheless, this work also brings us great tracks like "Bellezza," where the title says it all, "La cognizione del dolore," a reflection of today's Marlenes with a nod to the Marlenes of yesterday ("Nuotando nell'aria"), "Nel Peggio" presents our group in fine form with a compelling start that leads us to a calm and nocturnal ending.
A dignified work, very mature but with the unmistakable trademark; the major flaw of the MK is having spoiled us with certain standards, this will undoubtedly be a work that will definitively divide but one cannot reproach them for the honesty in having embarked on a path that would inevitably lead to these sounds which, I'm ready to bet, in live performances will not make anyone regret.

Marlene is there, she is dirty, but she is alive.