Primo: Sogni 12"

Primo: Sogni 12"

Tags: · 20s · indie · spo-default · spo-disabled
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Drawing from a collective musical lexicon as seen in Amici, Sogni (which translates to 'Dreams') reflects on

themes of decision-making, change, time, heartbreak and the practicalities of work and daily life. Primo!'s

music is a study of duality, weaving through these themes with an idiosyncratic delivery that is punctuated by

post-punk sensibilities, upbeat jangle and unexpected electronic flourishes.

Sogni sees the introduction of Amy Hill on bass, adding to the original trio of Suzanne Walker (drums),

Violetta Del Conte-Race and Xanthe Waite (guitars). There’s a freshness here, a breaking of new territory

that's a testament to the group’s collaborative work ethic and experience in their associated bands.

Spanning just under 30 minutes, Sogni’s twelve songs were conceived collectively in the rehearsal room and

perfected in a live setting, before being recorded to an 8-track with Al Montfort across a number of home

studios in Melbourne.

The resulting LP comes with a languid and fluid pace. Opener “Things To Do” sets the tone for Sogni, a record

that reflects Primo!’s day-to-day life, with sharp lyrics and a chiming encouragement. “Perfect Paper” propels

the album into cruise, with splintering guitars, “Machine” highlights the work-hierarchy struggle (you told me

just what I should do / but the problem is you’re only human / and I just can’t listen to you / machine,

machine, machine”). “Best and Fairest” questions the idea of an ideal life, while “Love Days” reflects on past

relationships and “Diamond Day” deals in accidentally being swept up in love. Before long, the LP is wrapped

up with a hazy and intimate final track, “Reverie”.

Our take: Australia’s Primo! returns with a second album and it’s excellent. I’ve listened to Sogni several times, and the word I keep coming back to is “gentle.” Primo! reminds me of the Shifters in that they sound a bit like the Fall, but unlike most bands who share their loose playing style and emphasis on rhythm, Primo!’s approach is feather-light and delicate. The songs on Sogni are all melodic, but they don’t use the stark contrasts I associate with pop music. The melodies are too blurred and hazy, lulling you into a tranquil, dreamlike state rather than prompting you to stand up and raise your fist. Sogni remains interesting throughout, though, proving that pleasant does not necessarily equal bland. I’d recommend checking out Sogni if you’ve enjoyed what you’ve heard of contemporary Australian indie and punk, particularly if the Shifters and/or Parsnip are among your favorites.