The Seville choose a very clear form of expression, represented by their heterogeneous and free musical proposal, a result of a variegated spheres of influence. They wisely keep away from binding and predictive labels; the suggestion of Susanne’s sound setting is not at all artificial, nor tied to frills that risk weighing down her arrangements.
“Regards” with its reggae-like intro that flows into a soul falsetto, “Sunday Drivers” that lets the guitars build a dynamic orchestral architecture full of interesting titbits (5 minutes 18 seconds of hyperbolic sonic rooms that retrace the best harmonically refined and sophisticated rock of the last 30 years); “No Streets To Run” takes us instead on a path through the canyons, towards the territories of Lee Hazelwood, without the usual over-ambition (consider Jack Nitzsche) that characterized the latter’s productions.
“Is there a place” proceeds with an feeling similar to Elvis Costello & The Attractions that explored the most learned easy listening, in “crooner” US places, the declaration of intent is plausible: to make well-written pop, performed naturally and with some rock attitude, the beloved primacy of the song is celebrated. “The music world needs songs … not hooks” proclaims Quincy Jones, referring to the inconsistency of Taylor Swift’s songwriting.
If there is a divide that still applies in pop sphere, it is between those who choose precision in writing and those who instead prefer a serendipitous study that sooner or later leads to a composition, concluding the creative process through experimenting with unexpected sounds.
The Seville choose to show their passion through playing together, in what is certainly a variety of sounds that make up the lively and heartfelt confrontation of the different experiences of the band members. We look forward to their debut EP, which is being assembled at Studio 2 in Padua.