nice prods, ma la corona sta facendo ruggine

la mia recente ossessione per cherry blossom girl degli air si è trasformata, quasi naturalmente, in una ricerca di sonorità affini nel panorama italiano. a distanza di cinque anni, credo di poter dire che il duo leccese si sia dimostrato pienamente all’altezza di quel riferimento.

al netto del fatto che il loro album di debutto non sia disponibile su apple music, partire dall’ascolto di una voce poco fa, il loro progetto più recente, permette di cogliere con ... read more

Zach is the only contemporary country artist who truly makes me appreciate the genre. With ‘with heaven on top’, he stays true to the approach of his previous albums: raw, direct lyrics paired with stripped-back instrumentals that go straight for the emotional core. It’s a formula that’s now well established, but stretched over such a long album, it can end up feeling almost torturous.

I would have preferred a tighter, more concise project, one that could better bring ... read more

i had already sensed something similar on ‘parade’, and listening to ‘purple rain’ now, that feeling resurfaces: Prince does not merely write songs, but builds sonic architectures.
even when the aesthetic is overtly epic and rock-driven, a restrained, almost chamber-like approach to composition emerges. this is not so much a direct reference to classical music (if at all), but rather the sense of a compositional vision that transcends the simple language of ... read more

ho avuto inizialmente opinioni controverse su questo album, dato che mi aspettavo un marco più sperimentale. eppure ha scelto di non snaturarsi, e questo nel lungo periodo ha premiato. riconferma infatti il suo suono indie/funk cantautorale, proponendolo con un modus operandi alla stereolab: un ritmo incalzante, ripetitivo, quasi ipnotico. l’innovazione più evidente si trova nell’approccio al testo, che abbraccia temi più impegnati, crea mondi immaginifici e ... read more

let’s kick off 2026 like this… it gets a bonus point because the title ‘The fate of Charlie Kirk’ made me chuckle.

It doesn’t immediately come across as a contemporary album, given the way it presents soul in a ‘60s style. I remember encountering a similar case in the pop scene with Fabienne Delsol, and in both instances, I find the result enjoyable, even though it would have been interesting to hear a modern reinterpretation, along the lines of Daniel Caesar.

That said, the arrangements are well-crafted and engaging, perfectly accompanying this diary of love with glances at the past, ... read more

The way FM develop their distinctive sound here lies in an elegant, almost folk-like experimentation. In the wake of Rumours, we encounter a contrast between stylistic approaches to songwriting and vocal performances that I do not find entirely effective, given the superiority I personally perceive in Nicks’s performances. At the same time, however, the mutual influence among the band members is palpable and, in effect, they have created a very fine album, more mature, and perhaps even ... read more

Here, the sounds are handled with great care to build a funky dynamic that feels physical and immediate. As a soundtrack, the album follows a fluid narrative arc expressed primarily through the music, with elegant and unpredictable shifts in rhythm and tonality. The tension, at times sexual, ultimately dissolves into the vulnerability of the closing vocal, sealing the idea of Prince’s boundless artistry.

This album feels destined to be adapted into a musical. It has a jazzy pop sound and the atmosphere of a ‘60s film, centered on a young female protagonist who narrates her journey through romantic turmoil and self-reflection. A further pleasant surprise was discovering the names of John Lennon and Paul McCartney in the credits for “help.”

Praticamente, il progetto Maneskin si scopre limitante per Damiano da un lato e, all’estremo opposto, per Thomas. In ogni caso, ritengo che qui le altre personalità artistiche coinvolte riescano ad amalgamarsi con naturalezza all’interno del progetto, rendendolo complessivamente coerente e capace di catturare l’attenzione. Daje

You can sense traces of film music influences, something in the vein of Piero Umiliani, blended with jazz-funk textures, all woven into a triumphant, east asian–tinged visual and sonic atmosphere. unfortunately it’s over far too quickly.

This is so Magdalena Bay ante litteram.

è pura poesia in musica, che si riassume nella semplicità, nell’eleganza e nella dolcezza delle cose veramente importanti. ricordo di aver letto di come la ricercatezza di questi temi e melodie sia stata fatta appositamente in contrapposizione all’amarezza e alla crudeltà di quei tempi, creando questo spontaneo dinamismo moderno per vivere alternativamente la paura. Grazie Ornella!

It’s a nice tribute to Margo Guryan, with the intersection of different artistic personalities and modern arrangements that still preserve that ’60s vibe. However, since the project was conceived around a plurality of voices, I think it would have been more interesting if the production had been handled by the same people, in order to have that element of sonic continuity that characterizes the original.

Digging into Clairo’s musical references leads you to things like this, so I’ll probably keep doing it. Plus, it’s an indie folk album with soul/smooth jazz influences, so it’s perfect for the season.

It’s a piece built on rock-tinged instrumental texture reminiscent of the velvet underground, but made more seductive by the elegant assertiveness of the horns and strings and by her airy vocal tone. And in the midst of a dynamic flow that’s engaging yet never musically overblown, the appearance of a super-experimental track like ‘love’ comes as a surprise… after the intro, Bjork herself could easily have started singing… you know, just to say lol. Lovely!

So yeah, obviously the problem was Dr. Luke on an album that’s supposed to be for ‘women’.

Florence, Rosalia and now Charli…i mean, let’s build temples for gothic pop

immenso.