Skruigners
Niente dietro niente davanti

"Whore?
Are you calling me a whore?
Do you have the nerve to call me a whore?
And what about you? Look at yourself!
Look at what you are today... but do you remember what you were yesterday?
So, who's the whore then?..."

The most loved and most hated at the same time on the scene, the Skruigners couldn't care less about anything or anyone, staging their personal show called "Niente Dietro Niente Davanti" which follows "DuemilaTre".

The album sees the entry of Tazdio and Mattia into the line-up on guitar and bass respectively, joining the true mastermind of the group, the drummer and lyricist Carlame, alongside an excellent Ivan on the microphone.

The first thing you notice is the good work done by Tube Records, for a production that sounds powerful yet clean, where the sounds of the instruments are individually highlighted, unlike many hc productions with muddled sounds.

19 tracks for about 28 minutes of music, 1 minute and 30 on average per track. This data alone would be enough to draw the necessary conclusions.
This music isn’t for everyone; you need adrenaline in your veins here, anger, and restlessness to let this kind of music get into your blood. No arpeggios and embellishments. Here, there's only sweat.

A look should certainly be directed towards the lyrics. The Skruigners don’t take a definitive stance, they don't indicate solutions, there are no rhetorical slogans here, no answers are given, and at most the listener asks the questions. Just slides and instant snapshots branded with the fire of lived life, social reality. A realization, an unretouched photograph of what they see from their perspective. No suggestions, no horizon, no destination, no tomorrow ("Ten steps in an instant, ten years in a minute, surrounded by extras in the absolute void...").
Frescoes of disillusion and pessimism on a society firmly anchored in dogmas and closed mentalities ("Everything is fine, cut your veins as thousands of people bark like dogs, all locked in their heads, I hate it, living chased through confusion, alone in the crowd")

The message is favored over sing-alongs, and the abandonment of the song form is a brilliant example ("Io non mi volto mai", "Io ci odio", "Come foglie", "L'ultimo sorriso"), except for keeping the best shots in reserve for the end with those that rightfully go among the best songs they have ever composed: the anthemic "Il peso del cielo" and the murderous fury at the limits of thrash metal in the sarcastic invective-accusation of "Suono per i soldi" which opens with a curious sample before Ivan begins to pour out all his anger on the microphone ("Suono per i soldi niente più passione penso al portafogli non alle canzoni ieri ero sincero oggi lo faccio solo per moda perchè piace e rende puttane, soldi e droga...").

Despite being a monolithic and canonical album, there are variations on the theme like the grind-core of "Ltsvf" cover by Bestiamadonna (Carlame's extreme project) and a bit of a breather on "Quanti segreti" where the melody stands out more. The drumming is exciting and explosive, and the new entrants bring perhaps a greater technical depth to the group.

A lot of stuff.

"Like leaves in the wind
dancing on the cement
I wake up far away
and I've come a long way
but I don't know where I am
I am like a leaf
I want the wind to blow
fixed on destiny's gaze
swollen with wine on these long silences
and I've seen too many things
and seas I never forget
with a breath of life it all starts over
so all over again
naked waiting for the wind to blow
naked waiting for my moment to come
like leaves
without aim without tomorrow
like leaves
like leaves
like leaves
mixed randomly to infinity..."