because after one seco(english translation by Andrea Peluso and Alessandra Bertaggia)

The first thing that strikes me of UNITED is the fact that doesn't exist... the drummer! Yes, yes, I read and I reread notes of to the booklet but the word that it applies more often, apart FORGIVE is rhythm programs: my eyes synth-dependent assatanatis don't have time to communicate this concept to the brain that suffered listening my lips say: "Do you see that fellow Marian was going to shot us with a series of passages electro as everything one could wish for ?." This secret hope of mine, comforted oltretutto from insistent voices of a definite swerve in this sense of the next album of the AVs, go then disappoint, even if my final judgement remains however positive. UNITED is a job that according to me has dark sides, hardly decipherable, and others a lot of forehand. The traces are longer and it is certainly not an example of Top Ten album , but I don't believe it has neither the pretension to be it, nor the hope to become it (so the musical business goes..) There is a mix of everything, in this record. Certainly they don't reach neither the elegy of Parade, neither the atmosphere jazz of Heaven or hell, and not even the fantastic ingenuity of the first sounds, sparkling and panders, of Sounds like a melody, however interesting signals are there, and according to me the album of the group will be a big suprise. Besides, i had a lot of pleasure to see that either Ricky that Bernhard have given their contribution (more actively Ricky, in truth). The CD, has already to play in the meantime. It starts with Danger in your paradise: the voice comes immediately almost at the beginning of the song, low and confidential, sustained by an elegant loop of keyboards; he adds the line of bass (as many elegant and precise) to dictate the rhythm to the battery that, after being waited for some time, it gives its honest contribution, without resulting obsessive, neither preponderant. The voice jumps to the octave superior. The passage slips light street, with a very easy chorus to memorize. The second stanza is less cantilenantes, the metrics becomes like an optional, the end, devoted justly to the keyboards, true carrying structure, has succeeded fully. We start well, compliments. In Caroline the initial organ is torn to pieces from a sudden raid of battery, that stays however on the background , powerful, but not annoying. Marian has a "confessional" tone and in certain tones it remembers to me the singer of the Psychedelic Furs .All glide easily without big jolts. The funky arrangement of Feathers and tar, that I finally have the pleasure to know, after a lot of wait, it doesn't make worth absolutely, neither justice to the harmonic line, valuable, yes, but quite "easy." I would almost have appreciated better it in a unplugged version, even if I understand that it would not have been figured out with the general atmosphere of the album. It appears me a colorless ', perhaps wantedly "flat" and not excessively elaborate: it could have been arranged in that way in order to have the most possible jumped the voice, that instead lends him until too much to virtuosities. In short it has been for me a half disappointment despite the immediateness of harmony. Missionary has a strong bass, it is "messy", the sound is "dirty", introverted, rolled: perhaps I don't have it yet well understood, for now, but it doesn't convince entirely however me. We change completely with For the sake of love, an unimaginable techno hammerto 176 BPMs (measured!), full height of effects, surely amusing to program, certainly a divertissement, commercial as enough, but not too much, after all. Very beautiful the end, that puts in prominence the principal harmonic turn and it falls through with a rhythmic effect from anthology. And here arrives the first cover version, without shadow of doubt (till now) the passage that I prefer: Say it ain't so, Joe has a very beautiful refrain, a marvellous passage to superior tonality and an appropriate use of the backings vocals that are, according to me, a splendid proof of artistic maturity (when it regards to written passages by other artists , it is not so easy to give the best and here it seems to me it was successful !). The following passage is still a cover version, this time nothing less that of David Bowie. Five years remembers its author to me expecially in the final part, with that particular use of the choirs. Despite iím not a particular estimator of the "White Duke" (also because I confess i do not know his music so well) I must admit that this is a big beautiful track, even if a little bit prolix. The drum loop, is very calm and measured besides championship, and it doesn't notch the narrative and intense atmosphere. In Change the world Marian uses the precious collaboration of Claudia Fontaine, in a inspired soul and of atmosphere duet. Besides also meaningful from the point of view of the songtext. It is ' an episode that, being intimistic and dripping feeling, doesn't go out however, also from the general canons of the album: it seems me quite a lot "closed" and "dark." Cosmopolitician, to follow, after an intro between the religious and profane , with distant echoes to remember Michael Cretu, Enigma, Sandra and the whole family, sustained by a very penetrating soundbox, is one of the best, as it concerns the background of synthetic arcs and the use of the voice, filtered and hypnotic. It has an end that let you feel ..... interdicts, alsond it falls in the eardrums immediately the conclusive chapters of the whole album, whose beginning remembers to song of the Yazoos , In my room. Soulman is an articulated passage, "difficult", discursive, "strong" and endless (hard almost 9 minuteses), that passes from to deep beginning, with rap voice, to a bass part, almost underground, with soul contaminations , and it is developed in to final growing of choirs up to the final stop. The new album of the AVs appears to be published soon: well, the hope is even to come out soon, because there will be, i believe, really to surprise ourselves of what these guys will do. Andrea Peluso

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