Üstmamò
BestMamò

Ustmamò is a group originating from the Reggiano Apennines, around Castelnovo ne' Monti and the Pietra di Bismantova (for climbing enthusiasts).

They debuted in the early '90s, under the protective wing of Giovanni Lindo Ferretti, unforgettable leader of CCCP, CSI, and PGR, with whom (and with “Disciplinatha”) they recorded the live "Maciste contro Tutti" in 1992. In the Italian music scene of the '90s, they stood out for their sound originality, the irony, and often the irreverence of their lyrics, the constant reference to their land and their "mountain" roots, and above all, for the captivating and very unique voice of Mara Redeghieri.

This collection, published in 2003, the year the group disbanded, contains some of their best compositions. As becomes evident on the first listen of this "the best of," Ustmamò's music changed significantly over their (albeit brief) career, transitioning from the clearly Ferretti-influenced post-punk of their first album (“Ustmamò” from 1991), to the trip-hop of the self-titled “Ustmamò” from 1993, from the dream-pop of "Ust" from 1996 to the more electronic "Stard'Ust" from 1998, and finally to the return of more (conventionally) rock sounds in the last album "Tutto bene" from 2001.

From the first album "Ustmamò," the last 3 songs of the album are taken: the self-titled "Ustmamò," a teutonic electric punk sung in their beloved dialect, the irreverent punk prayer "Filikudi," a nonsensical nursery rhyme that opens and closes on a Mediterranean melody, and the programmatic "100 pecore e 1 montone," again in the form of a nursery rhyme, where the band’s "political-philosophical" agrarian-inspired thoughts are exposed: "I want 100 sheep and 1 ram to live 100 days as a lion". These songs would be best listened to live, with lots of pogo involved.

The band’s sound began to change with the second album, from which "Tannomai," a rap sung over a grunge backdrop, also perfect for pogo, and especially "Acant," a more electronic track, where the voice of Redeghieri finally begins to soar.

It’s with the third studio album, "Ust" from 1996, that the transition from punk sounds to those of dream-pop à la Cocteau Twins. The voice of Mara Redighieri is now absolutely at the forefront and the rhythms are decidedly more relaxed. "Siamo i ribelli della montagna" is a very successful cover of a famous partisan song, "Canto nel vuoto" a very sad poem on a trip-hop base, "Baby Dull" a harsh condemnation of the superficiality of the new female universe, bolstered by a memorable chorus: "You captivate my heart, plastic woman/ your eyes are a bit wide, but you’re fantastic". "Memobox" is instead a song with ironic lyrics, dedicated to the world of chat lines and was the most successful single of the group, also thanks to a simple and irresistible chorus.

The musical journey of Ustmamò continues with "Stard'Ust" from 1998, with relaxed tracks and even more electronic arrangements. "Cosa Conta" is a track halfway between jazz and electronics, "Mai Più" a slow trip-hop, with a sweet and ethereal chorus, "Kemiospiritual" a tender pop-electronic track.

With "Tutto bene" from 2001, the group once again turns towards more rock sounds. It's an album that generated a bit of disappointment among old fans, but it is undoubtedly of notable quality. "Nell'aria," perhaps the most beautiful song composed by the group, is a magnificent ballad enriched by Redeghieri's wonderful voice and a superb violin, "Secondo Incantesimo" a soft pop melody, and "Per gioco" a harsh rock condemnation of war.

In conclusion: the collection contains some of the most significant tracks from Ustmamò's entire production, but many others are missing, from "Vietato vietare" to "Malinconici," from "Cuore/Amore" to "Onda su Onda," from "Rosa di Sabbia" to "Opera Soap." Precisely because of the heterogeneity of the genres of the songs, it results in a CD that is difficult (if not impossible) to listen to. This collection is probably useless, because long-time fans will prefer to listen to the individual albums, while those who do not yet know Ustmamò will probably be a bit disoriented and perhaps disappointed. To the latter, I therefore recommend directing themselves to the individual albums.