Massimo Volume
Aspettando i barbari

Massimo Volume never needed the infamous introductions, as they were bearers of a personality too strong, too peculiar and original. They have played a key role, in hindsight, when it comes to the Italian scene: post rockers when the word made no sense, with an eye on Louisville and their head in the literature of bassist/"singer" Clementi's lyrics. Extreme levels.

An adventure that, after the 2002-2008 hiatus, in 2010 reached the album test, a stage dreaded by all reunions, and especially perilous for MV, unable to distort their consolidated formula too much and therefore susceptible to the sterile reproposition of the usual compositional solutions, perhaps combined with the loss of their immense expressive urgency. And yet, with a great stroke of class, Emidio, Vittoria, Egle, and the new (magnificent) addition Stefano crafted an album that stands just above Da Qui and moves closer, albeit always cautiously, to the unsurpassed Lungo i Bordi. A varied, warm, and palpable album, entirely analog, full of interesting and never digital textures (the crumpled sheets of Avevi Fretta di Andartene give chills, chills). A brilliant reshuffling of cards that kept them standing, greatly, but also without moving beyond the boundaries of the realms they knew.

But after 3 years of further bonding, Massimo Volume are finally ready to modify their recipe. First of all, the duration of the songs stands out: all 3-4 minutes, all with at least a partial insistence on riffs, almost no instrumental section. At a hasty examination, one might say that it is their rock album. But listening closely, the post-rock is still there, gagged and contained, yes, but present. Especially in the (very varied, seriously) textures of Pilia who, thanks to the generous space left to him by Egle, indulges and, being the whole thing far from the division of the guitars in the left and right channels of Cattive Abitudini, brilliantly melds his actions with Sommacal's always personal rhythmics and with Burattini, this time almost wrapped in the same loop, obstinate and damn effective as usual. But another thing stands out about Aspettando i Barbari. Contrary especially to the previous one and still to all other albums, this one is tremendously cold, distant, oppressive. In Cattive Abitudini you could hear Emidio's saliva when he opened his mouth to declaim. Here there is no intimacy. Everything is violation (Compound, the account of Bin Laden's capture, exemplifies quite well what I mean). Among the lyrics, John Cage, Mao, Fuller, and the wheelchair-bound songwriter Vic Chesnutt make an appearance (thanks to Flo for introducing me to him!), however on the side there is a link for a presentation of the lyrics, one by one, made by Emidio himself.

Emidio, him, tries to sing on this record; timidly. Past attempts (Club Privè) were not well received. No miracles happen here either, but Dymaxion Song is a blaze that will spread well at concerts. Electronics is also present, a component for whose lack Burattini had often expressed regret. The synths of Vic Chesnutt are masterful. Dio delle Zecche, on the other hand, is effective, just like Primo Dio which is inspired by a poet, Dolci in this case (the text is his). A piece which, like the title track, the only moment of pause on the record, are already classics for the band. But still, the moment I consider the highest of the album is undoubtedly Silvia Camagni, an absolutely hallucinatory piece, a disturbing and frigid sound film, with few colors and many sensations, with a moving finale.

In short, Massimo Volume convince even when they decide to step out of their usual path. An effective, personal album, different from the previous ones. Composed by a reunion on which at the time no one would have bet a dime. And yet conviction, sincerity, commitment, and courage have rewarded them once again. Egle and colleagues confirm themselves as one of the few absolutely valuable Italian bands, and as human, tangible, real people. Like this album. It's nice that it reflects them so much, casting few shadows on the future.