FINE BEFORE YOU CAME - Ormai

I should start by apologizing to Marco, Filippo, Mauro, Jacopo and Marco, because it's neither nice nor professional of me to publish the review of “Ormai” so very, far too late. My problem – one of them – is that with Fine Before You Came I have a very intimate relationship despite not knowing them personally; I'm one of those people who puts their records in their ears only to have them end up in their heart, by background and attitude and above all because I'm tied to them in a very particular way.

I first encountered FBYC at their debut – let me take the long way round, since the time already lost is so much that a bit more won't hurt – they were recommended to me by a girl I had never met and with whom I shared a few hours "elbow to elbow" in a chat room. She was Elisa Goolvart; some of us got to know her, and quite a few – in many different ways – came to grow fond of her and love her. FBYC were a young band, at their English-language debut, and I was in the full throes of a post-hardcore-screamo delirium; it was love at first listen and I decided I would marry them.

Since then they've come a long way, because they're talented and then some – I picture them as wonderful people, because, as I said, I'm one of those who only knows them by sight, one of the many who sweats and throws their hands up to the sky singing along with them at their shows. And maybe this review is taking a very ugly turn – we're well into tear-jerker territory by now.

Well, the fact remains that this is a very beautiful record, one that tells stories sometimes sad with the light behind the despair, sometimes with despair behind yet more despair, with Jacopo carrying on with his spare, essential lyric writing, with guitars sketching out top-tier harmonies, with everyone always hitting with real punch and drive, making you want to point a finger under the nose of whoever's standing next to you and belt out all seven songs of “Ormai” together.

I've been listening to this record for two months now, two months in which the editorial staff, Tempesta's press office and everyone around me have rightly been asking and telling me to put this thing online. I'm a little sorry about it – it could have been one of those pieces packed with reference names, a proper in-depth analysis. Instead, once again, I'm struck down and overwhelmed. Then there are masterpieces like “Capire settembre” and “La domenica c’è il mercato”. But you can download the record from their website and use your own ears.

Then again, there's nothing new under the sun, and the great critics will critique it better; for me it's a different matter, tied to people and affection, and that's perfectly fine. Fabretti will publish it anyway – "e dopo tutto, quando fuori non piove, non è affatto male".

With a thought, constant, for Elisa.

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07/04/2012