Blank Dogs
Under And Under

LA RECENSIONE

It may also be the "Spiderland" effect.

Do you remember - actually, you don't remember - when it came out? A minimal review, the kind that's easy to forget, a simple note that went completely unnoticed, except for those who already had Squirrel Bait records at home and might therefore be interested. Then it turns out that "Spiderland" is the seminal post-rock album and one of the most important of the '90s in general. Certainly a big embarrassment for the journalistic outlets.

Here, the beginnings of something similar might also be present: not that "Under and Under" is in any way comparable to the masterpiece by Slint, but the atmosphere suggests that we could be witnessing something new and not yet well defined. Our major critics, both local and international, are quick to devote extensive articles, interviews, and name Mr. Mike Sniper, the man behind the moniker Blank Dog, with the title of album of the month, just to be safe.

"Under and Under" definitively consecrates, once and for all, the ultimate scrapping of 1980s new wave. There have always been 80s influences in indie music from the following years - think of the echoes that Gang Of Four, Pop Group, Fall have had, just to mention the most seminal - but never in such a scientific and targeted way. Blank Dogs have visited the landfill and torn scraps of Cure, Chrome, New Order, Joy Division to sew themselves a new skin.

The album initially arouses curiosity, amazement, but as you continue listening, it increasingly reveals its potential. It's labeled In The Red, but the needle almost never goes into the red; the mix is an underground and claustrophobic pop as if it comes from a poorly tuned radio; Blank Dogs use - besides a drum machine, a little guitar, a synth played even like a theremin and their grating and not at all melodic voice - flashes of bass à la Simon Gallup (Setting Fire To Your House - Falling Back), synth à la Damon Edge (L Machine), cavernous voice like Ian Curtis in abundance. At times ("Night Night") it approaches other low-fi champions (Ariel Pink, Radio Dept), "Blue Lights" sounds like "Charlotte Sometimes", in "Tim Birds" the effect is akin to an airy melody like "Atmosphere" by Joy Division, but the deliberately minor format of the musical structure makes everything suggested, sketched out.

A classic bedroom rock - now renamed "Bedroom Wave" to please classification lovers, which perhaps - is my impression - could become a post-new wave (and I say this without taking responsibility, as Totò would say)