Subsonica
Amorematico

THE REVIEW

2002 The year of change or at least the year placed within the change. Like this album made up of a twenty percent of Italian-European powerpop and eighty percent of club culture. An album that fascinated this boy who at the time (Dear grandkids...) fell in love with its autumnal aftertaste. Yes, precisely the scent that every time I listen to it rises up my nose and brings to mind this evanescent and impressed picture with its fields of the Piedmontese province where the silhouettes of the trees on the horizon seem like skeletons and the low mist makes the dry shrubs wet. Born in this transitional period, it is a slightly blurred photo with its easy-to-easy comments veiled with a slight communism with a dissident attitude at the 2001 G8 ("Sole silenzioso," which remains a great song).

In short, Subsonica with the right album at the right time mainly composed of 2 genres that, here in Italy, have gained the consensus of the majority of the mass, on one hand the zumpa-umpa connecting back to the provincial clubs of the '90s - '00s frequented on Saturday nights by twenty-somethings with a sweatshirt under a shirt and heads covered in tons of gel (bischeri), and on the other, the aseptic electro-pop of the '80s, exemplified by "Nuvole rapide." All this is confirmed by collaborations with Krisma (speaking of bischeri) and DJ Roger Rama. To all this combines a high culture attitude that allows them to put on airs and do foolish things like putting on the same album stuff like "Nuova Ossessione" and "Gente tranquilla." Thanks to this mix, the album succeeds both on television networks and among high school kids.

This album had the merit (or the fault?) of making electro rock respectable in our country giving it a certain artistic and commercial dignity. Subsonica, on their behalf, did not exploit the situation fully; in fact, from here on, they will only publish a live album making a sold out throughout Italy, then conclude the season with a mediocre DVD and a two-year reflection break that will lead them to that immature album which is none other than Terrestre. For heaven’s sake, the album isn't bad at all... you can easily give it a 3; however, Subsonica's arrogance is such that I feel like kicking them yet the album is danceable and wisely arranged. In my opinion, the best lyrics, because they are rich in intelligent insights, are those of "Sole silenzioso" and "Gente tranquilla," coincidentally both written by Casacci. "Albascura," however, pays a shameful tribute to "Giù Giù Giù" by Marlene Kuntz. The final remixes could have been avoided. And I don't think there's anything else to add.