Marlene Kuntz
S-low

THE REVIEW

Let's start with the cover...

A Godano with eyes closed (or covered) by an unkempt mane, one hand on the microphone, the other effeminately relaxed... Michelangelesque...

"The Creation of Adam"

No guitar in hand (you can barely glimpse the strap) because, in the end, it might not be essential... But that microphone... That conveyor of images, words that for some time now has been the true protagonist of the group under discussion, is not there by chance. A microphone that doesn't transmit voice but words (note the difference...). It's the turning point.

There was a faint hint of it in "Senza peso," a distinct scent in "Bianco sporco" and now the poetic-literary shift has reached the point of no return. And in the end, to tell you the truth, it's better this way.
We'll miss the cathartic clattering, the sonic distortions, but how can you resist the charming "Lieve" (preceded by the old-style instrument-by-instrument presentation), the surprise of "Ti giro intorno" or finally hearing "La canzone che scrivo per te" without the Skin-esque croaking that broke its pathos...

But now I don't like this review anymore... Let's go back to the cover... You can glimpse a nervous vein in the arm that's no longer relaxed as before... It's clear, it corresponds to the only truly tense, nervous, noisy moment ("L'inganno") that with its 11 minutes confirms Moorian influence on Godano. Spectacular in this sense is Maroccolo's bass, which in the most total cacophonous noise always finds new notes, as if he were playing alone...

Nothing guys, I can't find the right feel to write this review... What a pity though because I started well...