Marlene Kuntz
Ho ucciso paranoia

Cristiano Godano with his Marlene Kuntz continues in his observation of the surrounding world and its human miseries, sometimes with a cold eye, but more often with scornful, sharp, and violent words, carving out moments of melancholic calm where he vivisects snapshots of human relationships, always translated into words by his gifted lyricism. While listening, you can be catapulted into a forest where lovers wander in a duel of emotions ("Una canzone arresa"), with music that vaguely recalls the upcoming single, that is, the attempt at a pop turn that will be "La canzone che scrivo per te". More often, the stage of the battle of the sexes allows you to immerse yourself between the sheets of a bed, where bodies chase each other, teetering between wakefulness and dreams ("Infinità"), supported by a bed of subtly distorted guitars, with the echo of "Nuotando nell'aria" reigning supreme in the mind of those who listen and loved the first work of the band from Cuneo. Suddenly, you might also find yourself drenched in the middle of a noise-rock storm of bodily fluids ("Il naufragio") or disoriented by the creaks of guitars and the reverberations of "Lamento dello sbronzo", further fruits of the ectoplasmic closeness to our godly masters Sonic Youth. From start to finish, the group's poetic threshold never drops below the levels of abundant sufficiency, risking to not entirely convince perhaps only with the martial refrain of "Questo e altro", and shining in the final pair of tracks introduced by two "spores" made of hinted melodies, noises, and feedback. First, the fast beats of "In delirio" lift you off the ground and make you derail into the synapses of your brain, in a free-fall descent towards the final void of the shout "vago nel folto di fronde in delirio!" before being enveloped by the bitter and consolatory enchantment of "Un sollievo". We are at the end, the hand lingers for a moment on the stop button, the mind commands and demands its dose..