Tying Tiffany
Peoples Temple

It is somewhat instinctive (but also too easy) in today’s small-minded Italy of Berlusconian morality and the rising "velina-starlette-parliamentary system" to give credence to prejudices, sometimes sensible, regarding the various activities of women and the "real" merit of the fairer sex, especially when talking about beautiful girls. Thus, even in the independent circuit, we begin to observe phenomena of actual "selling" of image, accompanied by pre-packaged musical product, which have long been present in the world of popular music.

Well, that being said, this is not at all the case with Tiffany.

I had the opportunity to meet her personally, discovering that besides being evidently beautiful and very charming, she also possesses an enormous musical culture and, above all, is the integral author of all her songs.

Despite the above-mentioned prejudices having thoroughly attacked her, as also demonstrated by the previous and – I dare say – somewhat ignorant "tidbits" directed at her on DeBaser, Tiffany did not seem at all weakened or disheartened.

On the contrary, she went her own way, proud of her talent. With her head held high.

So after a glorious experience as a Suicide Girl, a couple of albums behind her (the playful yet pleasant electro of "Undercover" and the more rockish "Brain for Breakfast") and an extremely catchy electropop single ("Pazza" from 2007) that did not achieve the deserved success, Tiffany assumes undeniably darker shades compared to her previous works.

"Peoples Temple" is steeped in darkness, deep and self-destructive anguish.

The album marks a definitive break from previous works: less Peaches and more Joy Division, the fascinating Bologna-nurtured artist seems to want to convey the explosion of an intrinsic and suffocated discomfort, through distorted screams at times reminiscent of former colleague Miss Violetta Beauregarde and razor-sharp, dripping sounds (who knew?) from the 80s.

But not exactly the glittery ones of Madonna and Duran Duran.

"Peoples Temple" takes you inside an abandoned nightclub, a temple of decadence: the disco ball has lost many tiles and spins slowly, creaking; the leopard print sofas are damaged and bear the marks of the lavish times that were; on the dusty dance floor there’s no one left, only the pathological ineptitude of the 2010s of the twenty-first century wafts around—too fast, serious, violent. At the end of a post-industrial era, we find ourselves disoriented, lacking any perspective and perhaps also a little fearful.

"3 Circles", bordering on noise, could only be the best opening to the record, a worthy prologue to the nihilistic delusions that will follow.

Standing out among these are the industrial virtuosity of "Storycide", "Still in my Head" which is practically post-punk, "Ghoul" which vaguely recalls the dance-punk of the latest Yeah Yeah Yeahs of "Zero".

Only "Miracle" stands out for conveying a certain positivity: a sunny piece but veiled with a typically new wave grayness, it could have been a real hit in the 80s.

"Show Me What You Got" echoes an early Trent Reznor, concluding an undeniably pleasant, fresh and promising album, that shines amidst the indie-boredom-revival sludge that is now the daily bread of the Italian "alt" circuit.

Even though Tiffany clearly looks abroad (having all the potential, who can blame her?) rather than at her home country, we should be proud to count her among the best products of our country’s electronic scene.

And expect much more from her.