The wonders of the blogger does, and all other agreements 
It has never been so hard for me to talk about something as it is of Mr.
Connecticut .
Even if I put both hands on fire and they were out spotless and pure, it is obvious that everywhere, even in an unconscious way, I would be accused of lack of intellectual honesty with respect to a band made up of three people the most 'recent of whom I met 20 years ago, and which, roughly, I can reconstruct much of the musical journey to the millimeter.
But it is not pure spirit of pride that I note these my lines, because it is truly possible to be silent in the face of
The Wonders of F, and the ability of this album, self-produced with 4 pounds in a province, in a country, I never tire of repeating it, if he was 800 km more 'to the north of the peninsula, it would have nothing to envy in terms of concentration of talent, the capital of Italian music, to be a breaking point in the whole panorama of pop tricolor in recent years, as new proposals to pop. If I had fallen from the sky
like all other productions' or not I great captain in hard disk, for sure I would write the same words. The Wonders of
It is without doubt one of the best early music that has brought Italian indiepop scene in recent times. The disk structure is compact, mixed quotes originality of 10 pieces in a row on logically sound as twee, when most 'electronic are a puzzle because homogeneous harmonically structured on a combination of different sounds "carriers" of the entire album: the songs are eclectic and daughters of the various experiences of the past three. The battery of rhythmic Barresi is exemplary of a cult pop productions of the more 'and older, Paul Savage is heard in some licks, as well as some Italian '70es habit, with the shift key, however,' other ramblings more 'noise, clearly necessary to put the album in the current context, on the keyboards of Amuse, however, one could write a book: the talent of our pop is something common ground for those who already listened to more 'than ten years ago, but, pretending to listen for the first keyboard that most incisive lines' than any other instrument with the sounds of Mr.Connecticut, as others rightly and elsewhere have noted, you can not 'which constitute more sublimation' clear of the Italian rock-underground - 80s, talking about Aperture, and Litfiba, and a continuous development of tapestry unforgettable Antonio Aiazzi gave the glory of Italian music of the past 30 years the whole, however, 'on a rolling basis twee, which often refers to of Scotland Camera Obscura, and keyboards that gives the indispensable role they take in almost fifty minutes the entire disk. The role of stringed instruments, however, entrusted to Taverna, is the most 'family can be found throughout the album: every single agreement refers to the more traditional brit' pure, from Oasis to Pulp, but also episodes of Americans, primarily over the brackets' happy Death Cab For Cutie, or to remain in Scotland, rhythms and melodies Kings of Convenience.
The album unfolds in alternating order, when entrusting to one instrument to another when the lead role to accompany the singular voice hoarse and nasal-Barresi of the same, definitely the most touch of originality 'single.
Barresi's case is undoubtedly the most 'complicated and fascinating. The uniqueness of his voice, which certainly refers to references more 'or less obvious inspirations more' diverse, making it unique, even if only to sing the cover of
the season of love and jokes. The Barresi is a trademark, it has hints of acute high as to leave open-mouthed screams or possessed by wrath. The Barresi is sensual, husky, whispering and Stone, or accompanying the melody, and kidnaps her, takes her hand, the cradle for the entire album.
I'd say it's always been so. The Barresi to 16 years only with the peculiarity of his voice made it listenable pieces horrendous limits of conception. Against his will, yet I hold the evidence.
But this orgy of references that I just listed should not in any way minimize the thickness of this small / big debut. The opening of Camorrista
The Walzer, operetta is orchestrated instrumental and dreamy, with precisely engineered around the compactness of sound to the delicacy of the keyboards on the rise, dark and lysergic acid, an insistent groove and pressing of rare beauty, enchanting , followed soon after by the true bulwark of the entire disc: Baby
.
Baby is the meaning and the paradigm, the term of reference of the whole project mr. Connecticut: here is the revelation of 2009, insofar as these guys can take the form of the disturbance in their best version possible, and most 'fun and successful. For a verse sung in crescendo, followed by an unforgettable "oh-oh-oh" chorus that opens to a given melody at the keyboard for a perfect pop song, and a harp guitar to twee, a person who plays once and keeps in mind forever, it would not be hard to imagine a video for this song which, in a completely different context, it would pass through all the indie radio in Italy. This is the basis of the analysis to discover the secret of Mr. Connecticut: The mixture of intuition and classical easypop, something very similar to what 'points out that, of course without the proper proportions, the Cure's Wish, which makes them convincing and capable to put in two good posts memory from the first, superficial listening. A little 'what happens with
The First Time, a beautiful and carefree summer march, and, if still not enough, comes
The Day After, two and a half minutes of sweet melody and successful, with clear citations Pulp, a four quarters and the mischievous crescendo that explodes into a convincing and harmonious chorus.
But this is not 'just a bed of roses: one piece is definitely weaker
Crepes, an idea very seventies songwriting, slow and rely primarily on the ability of Barresi, too broad, as opposed to
No Idea, too many references to classic rock Afterhours Italian approach Baustelle in the chorus, too, that if both ideas were developed presumably would better represent other important pillars of the economy of the entire disc. Readily
pero 'back the charm of
Goodbye guitars, the song with the refrain more' convincing, two open chords and decorated with simple effects to a minimum, slow and sweet, classical structure, verse-chorus-variation for two and closing, a test of talent on par with the crystal clear, unfortunately sacrificed in the final disk, cover de
Seasons of Love, perhaps a bit 'too much like the original, but which, as already reported, highlights the quality of the singing and not less than three of the eclectic use of electronics, which colors the piece of an epic is not that original, unique interpretation, which has led some to hear echoes progressive, and some sounds, all created with the help of electronics, do not lead to exclude, in addition to the cover of Battiato, throughout the disc. If
Cruise, however, may fall into the errors of Pancakes, although overall more 'valuable the previous episode, is certainly another masterpiece The Moon
yawns : initial sounds reminiscent of the best productions of Catania, I am referring to Venus, and most of the episodes' interesting post of the console, in quell'altalena jarring and discordant opening, followed by the magic of a lovely chorus, amazing growth and marked on the peaks of the exciting voice of Barresi, a piece of atmosphere and transport rare and precious, worthy of anticipation of the closure
Not so, perhaps the piece most 'unique and promising of the whole album. From a slow start guitar and pure, the mr. Connecticut explode in a frenzy of post-rock manual. Almost 11 minutes of Baroque contradiction is only apparent: the most 'astonishing news of our own, the quid which makes them significant, is the art masterly condensation of various kinds, while maintaining an attitude melodic irreducible, and that is why it is not so can 'be defined, most likely, the song of the album manifest.
It is from this basis the considerations that arise on a band that is candid, full, like the surprise of the year: Mr. Connecticut, some suffer from unhappiness of the name, objects too bad, they bring in a dowry history and a talent that probably very few other bands on the Italian scene independent can be traced. Self-handling means that it will not hesitate to define the limits of luck and the amateur is absolutely overwhelmed by the sublime melody, talent crystalline dall'affiatamento demonstrated excellent technique and the overall orchestration of an album with a thousand ideas and original flair and unmistakable.
The wonders of F (here, a name some more 'acceptable to a band of dull nonsense Americanized) is a little gem that brings with it the promises on which the three Calabrian can build an important story.
The class is there, along with originality and talent: the musical background of each of them, combined with an attitude rarely, allowed him to find an important place in Italian pop. Reach, and stable employment, is what he is asked, and unconditional support is what you will, if the next tests will continue, as it's quite inevitable, in these same levels, their efforts will be rewarded only to the extent that will fulfill the promises of a debut that, as things stand, is one of the most 'extraordinary entire decade in the musical history of our country.
did not know. I read today in Corriere that yesterday when I wrote the post was stolen in Florence the license plate of the press room just dedicated to Fallaci. a curious coincidence to me, and an equally curious confirmation. Dante and the usual other evidence suggests ... 
"in America today is not the risk of dictatorship by the executive power is the power judiciary. And in the rest of the West, the same. Think Italy, where, as he understood that the Left uses it without shame, the excessive power of the judiciary has reached unacceptable heights. Impunity and impunity are the judges who now command. By manipulating the law with interpretations of the part that is dictated by their political activism and their personal dislikes, taking advantage of their undeserved authority, and then behaving as masters " 
Who called her a racist and terrorist, denigrating and insulting her just because it lacked the necessary dose of hypocrisy and apathy to move in this politically correct world and corrupt feel today, in the days of searing Gaza, perhaps in the last days of Eluana in full of the events pro-Palestine-Israel, but more killing of Muslims, not so much because of the ugly provincial intellectualism of clever people in Europe, we feel today Oriana Fallaci to reread what he shouted to the world in his later years. She claimed to speak for "Anger and Pride", but it is not true. E 'cowardice not understand what in fact was the great love for its history and its geography, culture and Earth to get them going. Let us now (if you bothered her voice steady and vehement, too true), with good will to us (which is nothing but love for the truth) cause lost patience giudichiamole by his words and in deeds that are happening. 
