Not Waving
Good Luck
Boomkat Product Review:
Alessio Natalizia aka Not Waving rides the wave of a lifetime on his magnum opus, Good Luck.
His second album for Diagonal is an emotional but fiercely optimistic LP of skewed cathartic dance-pop written in the midst of these dark and uncertain times, fine-tuning 20 years of recording and rave experience into a vibrant, pop-ready statement that’s never felt so necessary.
It abandons the sensitive streak hinted at on Animals, his debut LP for Diagonal, to pursue a creative hunch for concision and social unity. This new perspective drives the album’s flux of emotions and guides what some may find to be a utopian outlook, wrapping his trademark experimental urges, clever song arrangements and winking edits in a larger narrative: a new system, if you like, that offers a way out of the contemporary condition towards something pure, sweaty and wild. After all, rave ‘floors were conceived for many as a way to forget/abandon the dark undercurrents of late 80s political turmoil.
The record is constructed as an album proper and follows a novel narrative: from the ego-pinching computer punk of Me Me Me, which jabs it into action, to the new wave thrust of Tool [I Don’t Give A Sh*t] and the ambient flush of Roll Along With The Pain Of It All [I’ll Text U], Natalizia clearly delights in taking us on a frenzied ride, but he never forgets his fondness for contemporary club culture [see the fulminating iridescent EBM-pop of Where Are We — with Marie Davidson guesting on vocals — or the acidic punk jabs of Watch Yourself].
Good Luck is a thrillingly positive record — like a big slice of pink and blue sponge cake, it’s delicious, sweet, creamy and wonderful. And that’s the thing: even the title feels like a much-needed injection of optimism, a return to the utopian ideals of rave. Contemporary politics/culture/life/love/music/media seem to be infected by a feeling of impending dread — of fear, alienation, division. Perhaps it’s the job of artists to present an alternative vision for the world [and music] rather than simply to reflect one’s reality back into the echo chamber of their own lives.
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Boomkat Product Review:
Alessio Natalizia aka Not Waving rides the wave of a lifetime on his magnum opus, Good Luck.
His second album for Diagonal is an emotional but fiercely optimistic LP of skewed cathartic dance-pop written in the midst of these dark and uncertain times, fine-tuning 20 years of recording and rave experience into a vibrant, pop-ready statement that’s never felt so necessary.
It abandons the sensitive streak hinted at on Animals, his debut LP for Diagonal, to pursue a creative hunch for concision and social unity. This new perspective drives the album’s flux of emotions and guides what some may find to be a utopian outlook, wrapping his trademark experimental urges, clever song arrangements and winking edits in a larger narrative: a new system, if you like, that offers a way out of the contemporary condition towards something pure, sweaty and wild. After all, rave ‘floors were conceived for many as a way to forget/abandon the dark undercurrents of late 80s political turmoil.
The record is constructed as an album proper and follows a novel narrative: from the ego-pinching computer punk of Me Me Me, which jabs it into action, to the new wave thrust of Tool [I Don’t Give A Sh*t] and the ambient flush of Roll Along With The Pain Of It All [I’ll Text U], Natalizia clearly delights in taking us on a frenzied ride, but he never forgets his fondness for contemporary club culture [see the fulminating iridescent EBM-pop of Where Are We — with Marie Davidson guesting on vocals — or the acidic punk jabs of Watch Yourself].
Good Luck is a thrillingly positive record — like a big slice of pink and blue sponge cake, it’s delicious, sweet, creamy and wonderful. And that’s the thing: even the title feels like a much-needed injection of optimism, a return to the utopian ideals of rave. Contemporary politics/culture/life/love/music/media seem to be infected by a feeling of impending dread — of fear, alienation, division. Perhaps it’s the job of artists to present an alternative vision for the world [and music] rather than simply to reflect one’s reality back into the echo chamber of their own lives.
24 bit audio.
Boomkat Product Review:
Alessio Natalizia aka Not Waving rides the wave of a lifetime on his magnum opus, Good Luck.
His second album for Diagonal is an emotional but fiercely optimistic LP of skewed cathartic dance-pop written in the midst of these dark and uncertain times, fine-tuning 20 years of recording and rave experience into a vibrant, pop-ready statement that’s never felt so necessary.
It abandons the sensitive streak hinted at on Animals, his debut LP for Diagonal, to pursue a creative hunch for concision and social unity. This new perspective drives the album’s flux of emotions and guides what some may find to be a utopian outlook, wrapping his trademark experimental urges, clever song arrangements and winking edits in a larger narrative: a new system, if you like, that offers a way out of the contemporary condition towards something pure, sweaty and wild. After all, rave ‘floors were conceived for many as a way to forget/abandon the dark undercurrents of late 80s political turmoil.
The record is constructed as an album proper and follows a novel narrative: from the ego-pinching computer punk of Me Me Me, which jabs it into action, to the new wave thrust of Tool [I Don’t Give A Sh*t] and the ambient flush of Roll Along With The Pain Of It All [I’ll Text U], Natalizia clearly delights in taking us on a frenzied ride, but he never forgets his fondness for contemporary club culture [see the fulminating iridescent EBM-pop of Where Are We — with Marie Davidson guesting on vocals — or the acidic punk jabs of Watch Yourself].
Good Luck is a thrillingly positive record — like a big slice of pink and blue sponge cake, it’s delicious, sweet, creamy and wonderful. And that’s the thing: even the title feels like a much-needed injection of optimism, a return to the utopian ideals of rave. Contemporary politics/culture/life/love/music/media seem to be infected by a feeling of impending dread — of fear, alienation, division. Perhaps it’s the job of artists to present an alternative vision for the world [and music] rather than simply to reflect one’s reality back into the echo chamber of their own lives.
24 bit audio.
Boomkat Product Review:
Alessio Natalizia aka Not Waving rides the wave of a lifetime on his magnum opus, Good Luck.
His second album for Diagonal is an emotional but fiercely optimistic LP of skewed cathartic dance-pop written in the midst of these dark and uncertain times, fine-tuning 20 years of recording and rave experience into a vibrant, pop-ready statement that’s never felt so necessary.
It abandons the sensitive streak hinted at on Animals, his debut LP for Diagonal, to pursue a creative hunch for concision and social unity. This new perspective drives the album’s flux of emotions and guides what some may find to be a utopian outlook, wrapping his trademark experimental urges, clever song arrangements and winking edits in a larger narrative: a new system, if you like, that offers a way out of the contemporary condition towards something pure, sweaty and wild. After all, rave ‘floors were conceived for many as a way to forget/abandon the dark undercurrents of late 80s political turmoil.
The record is constructed as an album proper and follows a novel narrative: from the ego-pinching computer punk of Me Me Me, which jabs it into action, to the new wave thrust of Tool [I Don’t Give A Sh*t] and the ambient flush of Roll Along With The Pain Of It All [I’ll Text U], Natalizia clearly delights in taking us on a frenzied ride, but he never forgets his fondness for contemporary club culture [see the fulminating iridescent EBM-pop of Where Are We — with Marie Davidson guesting on vocals — or the acidic punk jabs of Watch Yourself].
Good Luck is a thrillingly positive record — like a big slice of pink and blue sponge cake, it’s delicious, sweet, creamy and wonderful. And that’s the thing: even the title feels like a much-needed injection of optimism, a return to the utopian ideals of rave. Contemporary politics/culture/life/love/music/media seem to be infected by a feeling of impending dread — of fear, alienation, division. Perhaps it’s the job of artists to present an alternative vision for the world [and music] rather than simply to reflect one’s reality back into the echo chamber of their own lives.
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Boomkat Product Review:
Alessio Natalizia aka Not Waving rides the wave of a lifetime on his magnum opus, Good Luck.
His second album for Diagonal is an emotional but fiercely optimistic LP of skewed cathartic dance-pop written in the midst of these dark and uncertain times, fine-tuning 20 years of recording and rave experience into a vibrant, pop-ready statement that’s never felt so necessary.
It abandons the sensitive streak hinted at on Animals, his debut LP for Diagonal, to pursue a creative hunch for concision and social unity. This new perspective drives the album’s flux of emotions and guides what some may find to be a utopian outlook, wrapping his trademark experimental urges, clever song arrangements and winking edits in a larger narrative: a new system, if you like, that offers a way out of the contemporary condition towards something pure, sweaty and wild. After all, rave ‘floors were conceived for many as a way to forget/abandon the dark undercurrents of late 80s political turmoil.
The record is constructed as an album proper and follows a novel narrative: from the ego-pinching computer punk of Me Me Me, which jabs it into action, to the new wave thrust of Tool [I Don’t Give A Sh*t] and the ambient flush of Roll Along With The Pain Of It All [I’ll Text U], Natalizia clearly delights in taking us on a frenzied ride, but he never forgets his fondness for contemporary club culture [see the fulminating iridescent EBM-pop of Where Are We — with Marie Davidson guesting on vocals — or the acidic punk jabs of Watch Yourself].
Good Luck is a thrillingly positive record — like a big slice of pink and blue sponge cake, it’s delicious, sweet, creamy and wonderful. And that’s the thing: even the title feels like a much-needed injection of optimism, a return to the utopian ideals of rave. Contemporary politics/culture/life/love/music/media seem to be infected by a feeling of impending dread — of fear, alienation, division. Perhaps it’s the job of artists to present an alternative vision for the world [and music] rather than simply to reflect one’s reality back into the echo chamber of their own lives.
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