Shindig Magazine has called them ‰ÛÏone of Psych‰۪s best kept secrets‰. Drowned In Sound compared them to Brian Jonestown Massacre, combined with the sonic intensity of A Place To Bury Strangers. Last year they grasped the attention of Psych Nouveau godfathers The Black Angels, who were enthusiastic of sharing a 10‰ split single, collecting astonishing reviews and premiering on Consequence Of Sound and Exclaim.
Shortly after getting together in 2012, the band from Doganella Del Ninfa, Italy, released their first self-titled EP and almost immediately sold-out, followed by their mind-blowing London live debut at The Shacklewell Arms. Since then, they have taken part in the Reverb Conspiracy compilation (curated by Fuzz Club and Austin Psych Fest) twice and toured intensively around Europe. They also shared stage with Damo Suzuki and collaborated with iconic Icelandic artist JÌ_n SÌ_mundur aka Nonni Dead of Dead Skeletons, who did the cover art for the EP and joined them on stage at Eindhoven Psych Lab 2014. After leaving their fans lying in wait for a follow-up for two years, they are now about to release their debut album Neither Virtue Nor Anger, a double LP out on Fuzz Club Records on the 13th Of April 2015.
Recorded in their studio between 2013 and 2014, Neither Virtue Nor Anger is something beyond the colourful blend of 60s Psychedelia, Folk, Krautrock, Shoegaze and Post-Punk anticipated by Locomotive. The more it progresses, the more it turns into a desperate stomping Bacchanalia, spiced up with an hypnotic flavour and distorted atmosphere a la Faust. Obscure ceremonies for Greek-Roman mystery rituals, songs like My Lunacy and Cancer are the perfect soundtrack for a futuristic and dystopian Fellini‰۪s Satyricon. The album features the artwork of prominent Italian artist Mirco Maracci. His work has been exhibited in Palazzo Taverna in Roma in 2014, along with Andy Warhol, Giorgio De Chirico, Keith Haring and Amedeo Modigliani.
Mixed by Fabio Vedardo at Circe (as in the mythological character) Digital Studio and mastered by Brett Orrison at The Austin Recording Service