komakino: post-punk noise dreampop shoegaze indie & DIY fanzine

Two brothers. Damn young ones. Edoardo and Sebastiano  Omezzolli, 19 yrs and 16 yrs - repeat this after me, sixteen. S I X T E E N. 
Fukc. How dare you making such so good music at sixteen? 
Said that. Third record, oh my. From northern Italy, Arco.
Under the key of being and playing always genuine, never caressing that easy boundary of slavish or snooty hyper-technicism arrogance, common to loads of bands of the same age, embarrassingly trying to ride the current hype and related mannerism, Omezzolli brothers feed their 16 (again) titles with brilliant as nervous post-punk shots - catchy shots, actually, from 41 secs up to less than 3 minutes, - except done for the final track - Never Wanna Go (4'27'').  
Male vocals, frenzy electric guitars and propelled percussions. Horsepowered. Frantic, splintered, jumping left and right. Another Clan, Weak Suctions, as well as Permanent Hole brought my mind back to londoner Twisted Charm' , although we have here a different indie vs pop punk attitude. Belly's obsessive pace is pure adrenaline. Also, listen to the rapturous acceleration of Flower. Again, that brilliant. This (fucking) young Band marks a real difference over the national panorama. Hopefully someone is going to buy them a ticket to get away soon.
Although, IMHO there is not a 'hit single' piece - still -, Horrible Snack represents a full breath of oxygen. I wonder what might happen with a bigger production. Full respect. Now go and play this record.

Released on Feb 4th 2018: electric guitar, raspy sound and vocals, plus kick drum and tambourine over a hi-hat, - all in the key of one-man band - Tony Malaria, - that is Antonio Scafidi, writer and mastermind of European booking and tour management agency Doppiozero, and originally from Sant'Agata (ME), Sicily, Italy, and now homebased in Berlin, Germany. 
"No mastering, no problem", just as specified over the credits notes, - no studio trickery, - a triplet of chords diluted in a challenge of 13 songs, - his naive, let's say, purist, approach to the one-thing formula is direct and often heartfelt, as closest as possible to a live experience. A swing of bitterness and stripped-down DIY necessaire. 
Israel takes a different musical path of intimacy with the listener, as well as Debating in the kitchen and final track Darling. Said that, the whole tracklist is restless immediacy, hopeless and often groovy, - something that makes of Number Thirteen, a casual as good company. 

I'm thinking of M83 and Seefeel as I am playing again and again these tracks from The Prestige (release due to March 2nd 2018), - that is, Rome In Reverse's third release, brainchild of Antonella Pacifico, producer and sound-artist, Italian from Caserta, now relocated in Copenhagen, Denmark. 
One girl finding and losing herself into the hypnotic twisting of sound loops and processed samples programming. Ambient techno, electronically shoegaze, we may dare to say. Not far from that captivating as patiné trancepop playground dear to her co-producer Victor Ferreira, best known as Sun Glitter. 
Her sound trip blissfully starts with All the words, which goes pretty ecstatic, under the lead key of an obsessive electric guitar riff, breathing in and out with sound compression and a straight beat. 
With Grey, the wind blows immersive and intricate bubbles of charming, twirling melodies, which alternate digital isolation with soothing self-alienation, mellowed by the light, soft dirge of her vocals.
Later, Heavenly is percussively estranging the listener: everything is percussive here, a sound enchantment, which plays with repetitive figures like with the following Petite Biscuit, in a mechanical basic formula embracing club music, - plain and simple class.
Buzzing, dreamy and transcendental with the false straigth pace of Polar Bear, rhythmically abusing with delay efx on Love and Feelings, - the album's titletrack comes at the end of the party, swirlingly-emotional, after a cohesive tracklist filled with sheer sound mazes.