“3” by GRASS BOMB it is a work that seems built to remain in a state of permanent tension, rather than to arrive at a finished form. It's a record that never really tries to open up to the listener in a direct way, but prefers to maintain a constant distance, made of friction and subtraction.
Inside this EP, electronics, deformed guitars and a sound writing that works through successive stratifications coexist, as if each element was always in the balance between control and disintegration. Nothing is resolved completely, and even the seemingly most stable moments actually seem to prepare for a subsequent slide. It is a music that does not proceed in a straight line, but through the accumulation of tensions.
Compared to previous works, “3“appears more compact and more rigid in its structure. Where before there was an almost laboratory dimension, here emerges a clearer desire to build a precise language, even at the cost of being less immediate. There is no concession to easy listening, and for this very reason the album requires time and availability.
But “3” is also an important piece to understand a broader context: that of a Sardinian underground scene which is still talked about too little. Francesco Simula is one of the most interesting examples, an author who works far from the most visible centers of the music industry, while building a personal and recognizable aesthetic, outside the most obvious dynamics of the market.
The most interesting thing is that GRASS BOMB he never seems interested in “explaining” his music. There is no explicit narrative, nor a declared emotional journey. Everything is played on micro-variations, on fragile balances, on repetitions that change meaning depending on where you are in listening.
“3” is therefore a work that cannot be fully grasped. More than a disc to understand, it is a disc to cross. And what remains is not a precise form, but a feeling of instability that continues to work even after listening.
Daniel D`Amico for SANREMO.FM
