Opposition
Intimacy

As Nanni Moretti said in "Caro diario," I will always find myself agreeing with a minority of people. In this case, I have to create the minority myself because there is no trace of Opposition on the reviews of DeBaser. It might have happened to some of you to listen again to albums from your twenties years later and rediscover their merits. With "Intimacy," the 1983 album by Opposition, I experienced something more: the feeling that it was "timeless" music, capable of accompanying you just as well now as it did then, maintaining the same expressive ability. It consists of ten songs, with strong homogeneity, where the rhythm section is often prominent, with rarefied atmospheres, where music and voice are in perfect symbiosis. It is reminiscent of the Seventeen Seconds-Faith-Pornography trilogy by the Cure, due to the presence of that connecting thread between one track and another, which ties the entire album together.

Never as in this case did Opposition stay true to their name: cold sounds, dry, decisive, without a moment of rest, yet exuding passion and generating warmth.

The tribal and vigorous "A day in the future," the almost funky bass and the stabs of the drums in the compelling "Aching Arms," the evocative "Big Room Small View," the piano interlude in "I became a new man" (so similar to "A reflection" from Seventeen Seconds), the sweet and stern ballad "Life's Blood," "My room is white," so "Faith-like," which melodically opens up in the finale, the desperately calm "New Homes," the rhythmic "Sand and glue," and the masterpieces "In the heart," relentless in its progress, and "The voice has changed," elegant and soft, make up an inspired collection of songs where every element (rhythm, guitar, voice, production) serves the rest, creating a perfect alchemy, a rare and precious privilege from which wonders are born.

"Intimacy" is one of these.