Michele Panf Mantovani, aka Push Against New Fakes, is back after two years from his debut album, the vibrant and melancholic “Any Color You Can’T See”.
“[im]mor[t]ality” contains 10 tracks and represents a new search and a new definition of his sound. It’s a work built on bass frequencies and obsessive melodies sometimes dark, sometimes gray, sometimes just simply blue as the sky can be.
“Stars” mixes slow and fast moments, a sort of run that represents our contemporary times. “Where Souls Collided” reminds us that our hearbeat needs a deep and committed listening. “Go” opens with an arpeggiator and drives on an infinitely straight beat that reconnects us with our body, reminding us that dancing is a pleasure and a necessity too. “Circles” is rich of dissonances and it’s something previously unheard in Push Against New Fakes’ productions, but these dissonances evolve in simple melodies and then in a final soulful “four on the floor”. “Let Me Drown” is a look on technology and it shows us in a gently way how cold it can be.
“Waves” is a love song not in a love song form, it’s just the noise made by waves of emotion. And when everything seems to fade we find “Morning Drugs”, the story of a young guy who wakes up and fills his soul with medicines. He goes out to never come back. “Seine Augen” has a simple structure and it’s built on a single beat, repeated with no mercy. “Away” it’s six minute and more of sound evolutions, with synths from far away and an acid and devastating bassline. “Black Lovers” is the last track and it features male sampled voices with loads of reverb that teach us that even black lovers can love as white ones.