Tre Allegri Ragazzi Morti
La Seconda Rivoluzione Sessuale

Entertainment or art form? This is the dilemma... the object in question is the placement that should be assigned to music from a functional point of view, namely whether it should be understood as a real branch of art and therefore must consequently be taken seriously, or if it is a mere object of leisure.

The "three merry dead boys" could represent the emblem of the previous question, even though, and this must be stated, despite fundamentally adhering to the second form of thought, they play quite a bit to make the music itself frequently crossover between the two lanes, with constant contaminations between the music itself and the visual art they produce.

TARM write purely adolescent lyrics. Correct.

TARM play in a rather academic way, and their compositions are simple and very often damnably pop. Correct.

TARM wear masks not to make themselves unrecognizable, but on the contrary, to create an unmistakable trademark and wink at the market. This is also correct, but not entirely.

These are the main criticisms made by detractors of the Friulian group, which are perhaps the peculiarities that make them appreciated by those who find in them a profound intellectual and musical honesty, without too many pretensions. Ultimately, music sometimes, but without getting too used to it, should not be taken too seriously, and catchy tunes and obsessive refrains are often quite pleasant if crafted with good taste and the listener approaches them with the right awareness.

Davide Toffolo, the group's frontman, is above all an excellent illustrator and a cinema enthusiast (Pasolini and Tim Burton foremost), and only subsequently a fresh and carefree musician. Starting from these premises, the mask play staged by the 3 Friulian boys takes on a much clearer and more understandable connotation.
Knowing Toffolo's deep irony and his ruthless vision of contemporary society, it's not hard to believe that, ultimately, he has in some way intended to satirize the varied masks that musicians wear to create a recognizable image for the public, whether they are those of the angry and gloomy rocker, the revolutionary and nonconformist, of those who fight against the system, or those who thrive within it.

The fifth studio album by TARM is a nice album and nothing more, certainly not destined to remain in the annals, but alongside fairly anonymous tracks both musically and lyrically, it includes some decidedly noteworthy pieces.

The overture belongs to the negligible "Come Ti Chiami?" which slides away like oil, leaving no trace, but at least musically the partial redemption comes immediately with "Allegria senza fine", which also lyrically partly represents the group's manifesto ("this is my politics a 180 bpm beat that moves your ass and you think of nothing").
The gem of the album is represented by "Il Mondo Prima", a deeply evocative track, a true watercolor of melancholic love ("it was beautiful to fall in autumn like leaves upon leaves/it was beautiful the winter sky like your teeth, it was beautiful to feel your cold hands searching for something of me") also accompanied by a beautiful video in which Toffolo, in the over three minutes of the track, skillfully draws, providing the piece with a visual soul that well matches its sonic delicacy.

"L'impegno" sees the presence of Flora Michal but the track is pleasant and nothing more, followed by "Lorenzo Piedi Grandi", "In Amore Con Tutti" and "La Sindrome Di Bangs" (who knows what that might be...) are fairly weak and unimpressive pieces. The final part of the album is undoubtedly the best.
"La Salamandra", with a dreamy and soothing text, the disillusioned "La Poesia e La Merce" ("for a boy like me who sees poetry in goods and has his special morality to choose the next ass to kiss") and the delicate "Ninnanannapernina", up to the final cover "Mio Fratellino Ha Scoperto il Rock'n'Roll" (My Little Brother Just Discovered Rock'n'Roll by ART BRUT), redeem the shortcomings of the previous songs and offer interesting insights.

The greater punk attitude, never too pronounced, over the years has increasingly given way to a less distorted and more easily listenable pop-rock, and this is also evident from the greater clarity of sounds. The fact remains that TARM have carved out a not insignificant niche of enthusiasts and live, they exude considerable energy despite being only three. TARM should be taken for what they are, a pleasant musical interlude that does not aspire to be regarded as an art form but engages pleasantly on listening and deliberately seeks to lighten reality and paint it with the colors that Toffolo knows how to use perfectly.

Always better than someone who has very little to say but climbs on a pedestal and claims to have to teach life to others, and in our country, to do so Basta Poco...