Rosolina Mar balance on a fine line that few bands can walk, that line being a strong technical background and raw violent emotion. They do not walk this line in trepidation, but tear it to shreds, with meticulous care. Probably about half the musical genres could be – and likely have been – used to describe the sounds Rosolina Mar produce. Often when a band is described as motley in styles, it’s because they don’t really fit into any style, but blend several. With Rosolina Mar, on the other hand, you can clearly distinguish each of these styles – and more, if you’re aware of the more esoteric genres. Rosolina Mar come from Verona, Italy, so in a way, it’s not surprising that a city of such a rich cultural history has produced a band with such varied modern influences. For example, “Mingozo de Mongozo” (of the 12 song titles, eight are in Italian) maintains an invigorating beat all the way through, as it starts out in a jazz key, slides into a guitar-driven jam repeating with a bluesy guitar solo, breaks for an artsy note-spudded silence, and ends with the original melody with an added funky reggae vibe – making this five-minute song seem like a breath in eternity.
Similarly, “Tuttopapetti” begins as a primitive disco dance party rolling into jam rock and hitting a brick wall for the abrupt ending of the album. Highly listenable art rock but unpretentious rock you’ll not easily get bored with, Rosolina Mar’s instrumental sophomoric masterpiece dabbles in brilliance.