Brace Yourself Records
Living Human Treasure sees the long-awaited debut LP of Brighton-bred band Italia 90. The band has been prolific on the live scene for many years while producing a string of singles and EPs. It’s an album of biting satire that fuses several genres, from punk to gothic rock, post-hardcore, and jazz. The band’s sound has developed impressively, while their quick wit remains.
The album features several old live favourites alongside some new cuts, their sound retaining that raw, live energy that makes them so engaging. Frontman ‘Les Miserables’ sets everything alight with his snappy, caustic delivery. It’s a mature effort, reflecting the punk energy of yore without being a tired cliche. The topics are forthright but thoughtful; they don’t just piggyback on trends, while, at times, there’s a refreshing ambiguity.
The opener ‘Cut’ features dark, poetic offerings, brooding with intent. Musically it’s similarly atmospheric; fuzzy guitars reverb around, while the tick-tock of the drums creates an ominous sensation. ‘Leisure Activities’ sees them take a shot at other bands that identify as political but merely provide weak social commentaries and perpetuate tired working class stereotypes; “And it’s so patronising/This analysis”. It’s another brooding effort, the relentless patter of the drums eventually giving way to some violent, screeching guitars.
‘Magdalene’ and ‘Competition’ are distorted, chaotic affairs, ‘Les Miserables’ snarl slicing through the latter as he delivers a set of humorous, satirical mantras. ‘Competition’ features a quiet/loud sound that is prevalent across the record, ensuring the vocals aren’t lost amongst the noise, and the power of the lyrics can shine through. ‘New Factory’, an early live favourite, is a fantastically catchy affair, with echoes of Gang of Four in its pounding bass. It’s the album’s most rhythmic moment, and as good as it is, it feels curiously out of place amongst the new stuff.
‘Mumsnet Mambo’ sees the band take a leftfield turn, delving into jazzy territory with some humorous satire over the top; “Don’t you wish it was the 80 still?/Stood in the dole queue dressed to kill”. ‘Funny Bones’ is an urgent, restless piece of goth-punk, while ‘Golgotha‘ has a more minimalist sound, occasionally giving way to frenzied waves of distortion. ‘Does He Dream?’ is a languid rhythmic affair, the bass gently lumbering the track along.
‘Tales From Beyond’ combines scratchy riffs and hooky synths, which build to a slightly anti-climatic finish. The song is a potshot at individuals who manifest “milquetoast progressivism and a kinder capitalism”, influenced by people in the music industry who continue to perpetuate discriminatory behavior, despite claiming to have learned from their mistakes. It features some biting lyricism; “part-time radicals with nothing to lose/re-educate unlearn/rinse and re-use”. The closer ‘Harmony’ is split into three parts, starting with a repeating mantra that suddenly dips into a reverbing saxophone sequence before finishing with a furious punk outro.
Living Human Treasure is a solid debut, showcasing the band’s maturing sound, which is subtly diverse. It’s powerful and biting, but sometimes you can’t help but yearn for a bit more punky energy. Regardless, it’s an exciting debut and shows a band that wants to follow their own path.