Album Review: Måneskin – RUSH!
Music Editor Jake Avery reviews the enduring sound of Måneskin’s new album “RUSH!”.
Måneskin saunter with effervescence on third album, ‘RUSH!’. Having climbed the ranks of the pop-rock world since their stunning victory at 2021’s Eurovision contest, they continue to exhibit their
dazzling strut, powering through chords with a booze-soaked swagger reminiscent of the classic rock‘n’roll star persona; the dichotomy between this and a more romantic and personable selection of
tracks adds another dimension, however, ensuring that there’s some thematic and tonal diversity.
‘RUSH!’ cascades with romantic desires and raunchy, unfiltered decadence, both of which form a
delicious cocktail of thrills. A fine line is drawn between edgy, off-kilter bursts of hedonistic
destruction and sentimental ballads. Despite being pit against an abundance of tracks drenched with
a debaucherously charged rock ‘n’ roll strut (alcohol and cocaine references are ubiquitous throughout), ‘TIMEZONE’ and ‘IF NOT FOR YOU’, both examples of entries that long for connection over fame and fortune, manage to stand on their own as infectious serenades, even if they achieve this at the expense of the album’s overall cohesion. It’s noticeable how much more pop-centric both ballad’s
structures are when compared to similar tracks featured on the likes of 2021’s ‘Teatro d’Ira -Vol.I’ LP,
a stylistic choice no doubt made to cater to the broader appeal the band has owned since their
international acclaim rocketed throughout Eurovision.
The album also possesses a sharper and leaner edge than any of the band’s earlier works, with the
funkier tenets of their sound merged into a more streamlined form of alternative rock. Pounding
away with a gnarly irreverence is Victoria De Angelis’ bass, a component that sets the stage for a
variety of tracks; ‘GASOLINE’ stomps away in defiance, and ‘BABY SAID’ allows for the bassline to
bristle with swagger, driving the momentum forwards with a percussive thump. Thomas Raggi’s
guitar brings a chaotic flare to the party, matching the spontaneous nature of many of the lyrics
throughout with buoyant but abrasive bursts as Damiano David’s sharp-tongued quips and lyrical
flows lure the listener in seductively. Sealing the deal is Ethan Torchio’s drumming, a facet of
Måneskin that doesn’t underserve when held against its counterparts; all members of the band feel
equally integral to ‘RUSH!’s thunderous march, and all work excellently in tandem. This is exemplified
perfectly through many of the basslines, which align rhythmically at points with David’s staccato
vocal deliveries, emphasising the beat spectacularly.
Måneskin, amongst their extravagant and provocative displays of pleasure throughout ‘RUSH!’, also
pack an angsty punch. Expressing Måneskin’s more disdainful attitude is ‘GASOLINE’, a track released
as a tribute to Ukraine; it serves as an effective protest song, the only drawback being its rather
turgid, chant-oriented chorus. The second track ‘GOSSIP’ features Tom Morello’s signature screaming
guitar interludes. These sections by no means dominate but play well after David’s scathing lyrical critiques of showbusiness and the American Dream as masquerades for fools. These themes tie well
with Morello’s presence given his background with the anti-establishment ensemble Rage Against the
Måneskin, amongst their extravagant and provocative displays of pleasure throughout ‘RUSH!’, also
pack an angsty punch.
The Italian roots of the band aren’t forgotten and are fulfilled in three Italian language tracks
towards the end of the album’s runtime, with David’s riffing in ‘LA FINE’ simmering away with
excellent precision and melodic awareness. Raggi’s crude guitar tone juxtaposes brilliantly with
David’s ascending calls in ‘IL DONO DELLA VITA’, a track that feels more congruent with Måneskin’s
less pop-centric and zanier characteristics. Despite the sheen of the band’s more mainstream
approach to their song structures, moments like these illustrate that this is a group still very much at
the helm of their creative decisions.
There’s certainly no lack of the electricity and audacity that made Måneskin a worldwide Eurovision
sensation throughout ‘RUSH!’, even if both qualities are dampened at times in favour of a simpler
approach. It’s an addition to their catalogue that charts their formal step into the limelight, and one
that effectively manifests their versatility, whether that be through the breezy buzz of ‘SUPERMODEL’
and ‘FEEL’, the acerbic attitude of ‘GOSSIP’, or the sincere cries of ‘THE LONELIEST’. It might not be as
consistently compelling as their earlier entries, but its irreverence and ardent displays of pop-rock
glamour makes it a charming ride.
