Subsonica
Una Nave In Una Foresta

The Subsonica, we left them in a bad state, really bad, with an album like Eden, the lowest point in their discography.

And then the internal divisions, which the group has been carrying since L'Eclissi, were evident both in terms of quality and... you could really see it through interviews or announcements.

Just listen to the last single from that reckless album: La Scoperta Dell'Alba, a terrible jumble in its manifesto of the group's crisis. A song divided into three like those who composed it seem to be: Samuel's pop part, Boosta's electronic part, and Casacci's rock.

So why continue if everything has already been said and silence prevails even among the members?

For mere money? Because of the certainty that the whole is still greater than the sum of its parts (the solo outings of the three, some very commendable, I think of Caesar Palace, aren't worth half of Subsonica)? To continue touring, where in that field Subsonica outshine 99% of the competition?

I absolutely don't feel like answering these questions because, knowing myself, quoting the Marta, I speak badly and think worse especially when the band that introduced you to alternative music made in ita starts making songs (and even releasing them as singles, maputtanalamaglià) like La Funzione.

However, I'll say it straight away, as I listened to Una Nave Nella Foresta many doubts disappeared, and where in Eden I had only disastrous things to point out, here I save all 10 songs.

Even those that initially left me puzzled, like Tra Le Labbre or Ritmo Abarth, in subsequent listens every track revealed its own qualities.

Let's take Ritmo Abarth. The most goofy side of Subsonica in its essence, almost an insult to a band that made 'smart dancing' its hallmark.

But it works great as a moshing song and the whole album, in my opinion, reveals this function: an album that like never before (except live) best captures the power of the boys' concerts.

The majority of the tracks are straightforward, they could really seem to be live, making their essentiality their strength.

Gone are the overproduced toys that were the wonderful pieces of L'Eclissi and, even if it's a bit of a shame, you understand that for these songs it's just fine.

Perfect flesh for live shows, immediately ready to be thrown at us in concerts. Concerts we have eagerly awaited to scream and mosh as always drenched in sweat. And so they were.

But, here unlike Eden, there are also the SONGS. Really. Beautiful songs that you listen to again and enjoy especially if you understand that it's unfair to judge some of them in comparison to those that came before (as with Lazzaro or Ritmo Abarth, where we're a step away from self-plagiarism).

Or just beautiful songs like the title track, the grand pop of Di Domenica (that stands out from the rest as it is much more "polished" and rightfully chosen as a single), or my favorite, Cerchi Degli Alberi.

The whole is seasoned with sounds in step with the times filtered through the band's personal style.

Which is what they have always known how to do best and have always done.

Only this time, they thought about writing them, the songs, too.