Verdena
Canos EP

THE REVIEW

The Verdena are probably the most credible band in the alternative scene in recent years (alongside Teatro degli Orrori and the old ODM). This is demonstrated by the fact that an album like "Requiem", instead of moving further into the mainstream (a trend of many Italian bands), dares to further expand the influences and sounds of the Bergamo band.

Of course, the trio divides: you love them or you hate them. But this is a characteristic that every great band has. A few months after their last LP, "Canos EP" thus sees the light of day. This is already a novelty in itself as it has never happened in the Verdena camp that an album precedes the single. The lead song, "Canos", is indeed one of their best tracks, heavily influenced by the muffled sounds of the recent Queens Of The Stone Age and by lyrics bearing the solo Barrett's mark.

"Malaga" is a short interlude by Alberto directly captured from the experimental works of Aphex Twin or Radiohead's electronic period. "L'ora è buia" is a classic Verdena piece, with a bridge very similar to that of "Isacco nucleare".
"Parabellum" is a very oyster-like piece that unfolds among acoustic guitars, whispered vocals, plenty of triplets from the always excellent Luca Ferrari, malfunctioning synths, and various noises that come and go. The piece was composed drawing inspiration from some tracks recorded by D.Rad (Almamegretta) before his death. "His latest flame (Marie’s the name)" is a very beautiful and faithful cover of a 1960s Elvis track, where Alberto proves himself worthy in the challenging role of emulating Presley’s splendid voice.

The piece "Fluido" closes it all, a dark song structured in two distinct parts: the first very experimental and in some ways comparable to "Kyrie eleison/Mardi Gras" by the Electric Prunes; the second much more noisy, between Melvins and (vaguely) Tool.