Miura
3

I must be honest, I eagerly anticipated this new work by Miura, one of the few bands that in recent years I've associated with the words true and genuine. Certainly, their life misadventures may have contributed to making them more likable to me, or perhaps it's just the fact that when a band is not well known (unfortunately, I say) and you're a fan, you feel it is more "yours." For the band's history, I refer you to my previous review of "Croci," their second album.

I mentioned that I had awaited this second album and was taken aback by its content. My sincerity also leads me to say that the single "Normale," accompanied by an interesting video, hadn't impressed me much. Those guitars, so present in the previous two works, were missing. The presence of Killa, the guitarist, seemed overshadowed. Well, now, after a month of listening, I have to reconsider and unequivocally state that 3 is Miura's best work. If the first album "In testa" still lived with the shadow of Timoria behind it and the second "Croci," produced under the supervision of Giorgio Canali, was its continuation, with the new singer Max Tordini at his first test, this third album showcases the courage and skill of Diego Galeri's creation.

The cover, depicting the tracks of a metro with a play of lights that seem to go in all directions, perfectly represents the music contained in the new work. If some tracks in the second part of the album, the more properly rock ones like "Non vado forte", "Il solista" (dedicated to the famous Milanese bandit Luciano Lutring known as the "solista del mitra") and "Stimola" are musically traceable to the first two works, the rest of the album engages with a fluidity and psychedelia that penetrates deeply with repeated listens.

A shining example of the band's new direction is the closing instrumental "Stalker," nearly six minutes long, an open and experimental track. The influence of producer Giacomo Fiorenza (having worked with Giardini di Mirò, Moltheni, Yuppie flu, and Benvegnù among others) is palpable, and his contribution as a musician is evident as well. The opening track "Io, nella capsula del tempo" is a beautiful example of the band's new musicality, a fluid song with Tordini's good vocal performance and lyrics, like the others, never banal but full of prompts to reflect on one's own and others' states of existence. Tordini proves to be a good singer both in more spoken parts ("Underworld," reminiscent of Massimo Volume) and in the more shouted ones like in the chorus of "Andiamoci piano con le emozioni." Galeri (his work on drums and lyrics, half of which are his, is flawless) and Killa push aside rock aggressiveness to build more fluid and ethereal textures.

An album that might seem cold on first listen, but that over time absorbs warmth. A record with a free spirit, open to more solutions and directions. What those will be, we will surely discover in the next album, for now, I continue to listen to this work that amazes me more and more.