And so it was that the youthful and raw anger of the previous album was channeled in a different direction. A tempered anger (but not too much) that culminated in more relaxing moments and contemplation, a realization of reality, a subdued fury, yet always ready like a fuse to unexpectedly ignite. This is "Solo un grande sasso."
The second work is the one where Verdena manages to rid themselves of more than a pebble from their shoe toward those who mistakenly considered them merely an MTV phenomenon, taken and brought from nowhere (the henhouse) to noble rooms, as they say. And they were right.
"Solo un grande sasso" is their most challenging album for the ears, remaining structurally and compositionally multifaceted. It features various influences, from alternative rock to psychedelic, from pop to stoner, which alternate without interruption, always with an eye toward that early nineties American scene.
Long suites with a vaguely progressive flavor ("Nova," "Starless," the spectacular "Centrifuga") alternate with sweet lullabies, sometimes classical ("Nel mio letto" with the collaboration of Manuel Agnelli) sometimes subdued, the opening "La tua fretta" (which somewhat reminds me of "Free" by Motorpsycho, a band that is also evoked in other instances here).
In between, we have the excellent and fast singles "Miami safari" and "Spaceman" where we find Verdena at their most direct, condensing great emotions in just a few minutes.
Not to forget the sonic explosions of "Cara prudenza" and a sort of sublime bitter and disillusioned rock lullaby like "Onan." Very fitting, on the other hand, is the lead guitar in "Buona risposta," a song that kept me company for a nice period during the continuous bus journeys undertaken as an out-of-town student on Friday evenings returning home.
Give them time and trust, it will bring satisfaction and addiction, like all their albums. And then put on your headphones, look up at the starry sky, let yourself be seduced, and embark on a long and intense mental journey.
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