YOY is the Italian project compirsed of Lorenzo Borgatti, Massimo Borghi and Giacomo Malaguti. Last year they released their first self-titled full-length which is out via We Were Never Being Boring (Be Forest, Brothers In Law, Love the Unicorn). Their music combines fluid and liquid electronic lines, warm and embracing vocals, fragmented melodies with a melancholic mood.

Listen below and check also the track by track after the full streaming.

Dyrn. This song is a question we all have to ask ourselves: “Do we really need something?” Do we really need anything? Are we enough for ourselves? In this material world, do we still need such things as dreams? Our parents always told us we could be anything we wanted; the truth is that nobody really knows what kind of person they want to become. We do not know what to do with our lives, we need a purpose to move forward, but we are lost in the darkness of a thousand possibilities: life seems like a question. In the song, music tries to convey this meaning starting from artificial electronic sounds and then warming up with acoustic bass, piano, guitar, and drums that gradually intensify towards the final resolution: acceptance of the consequences of being oneself, however it goes.

Twelve. Twelve is a song about trust and about what happens when a bond of trust is broken. Musically, it opens and closes in a similar way, with an arpeggiated synth that from the first notes preludes to a dark and confused dimension where chaos reigns over order. The loss of confidence is a loss of certainty and when the initial synth riff ends and the straight body starts, the ground is being prepared for the rap part, which is a stream of consciousness, an outlet to express the suffering of breaking a special bond. In the end, major chords illuminate this darkness, as the initially gloomy synth riff becomes almost melancholy, like a memory of a distant moment.

Believe. There are a thousand different versions of this song. Born as spoken words accompanied by soft bass and piano notes, it then went through a substantial revision in order to create an unreal, fantastic, dreamlike world using effects on the backing vocals and an arpeggiator on the leading voice. The lyrics are an imaginary stream of thoughts, inspired by the myth of Plato’s cave. In our version, the main character thinks back to his life with his partner in the “cave” but, once he comes out and sees the world “beyond”, he realizes that he will be able to go back, because nobody will believe him. When he exits the cave, the narration stops: lyrics end, but the story does not need words from there on. An existential cry breaks through a carpet of gipsy sounding bongos and guitars, hinting to the extreme response to this “new”, “other”, incomprehensible world: escaping.

Blue Monday. The song starts with a recorder, heavily modified and filtered to create the initial pad, and results in a trembling Wurlitzer chord that gives the feeling of entering a different time dimension. The sound of snapping fingers and wire mesh scratching creates the rhythmic pattern amongst electronic and acoustic drums sounds, as the song slowly moves towards its climax. The final explosion sounds like a triumph of the narrator. This song is an inner monologue of a person who just found out that his ex-girlfriend is in the hospital. The drive actually describes the situation in the past, present, and future, a bit like what happens to us when during a trip we get an idea of ​​how it will end. This is our only way of dealing with unsolvable situations: rejection, anger, and finally acceptance as an eternal trinity that guides our lives.

Crime (explained by Lorenzo). “Crime” is a personal song, among other things it speaks of a relationship that I have lived. It begins with a long introduction made of a pad that mixes simple electronic drums and incomprehensible vocals that slowly turn into the words “our love is not a crime”. This sentence means that it was not wrong to be with someone who wanted me to be better than I was at the time. The song then moves towards a more intense part, with acoustic drums that press on synthetic woodwinds, while a light piano accompanies the voice towards the end. I still haven’t figured out if love can ever be wrong, I just know that sometimes it does not last that long.

Reset. This song was born from the union of three very different songs that shared a similar meaning. Reset focuses on the theme of affection, of the desire to feel appreciated, and the desire to feel loved. Due to constant refusal, you might not feel ok with yourself, but you always need to know how to love yourself. Maybe, you are the person you are looking for.

Evil. Evil” describes an ideal person, someone you met only in your dreams, as if your conscience was telling you that you do not deserve that person, because your inner demons keep you from being the best person you can be. We chose to make this song sound a little funkier, to lighten up the darkness of the album and to convey the frenzied feelings you get from those dreams where the scenario quickly changes from a bar, to the top of a skyscraper or a camp on Mars. Sometimes you get so lost in your dreams, that you eventually believe they are real. Sometimes you become so attached to a dream, that you wish you would never wake up: but you always do.

Y (explained by Lorenzo). “Y” was one of the first songs we worked on as YOY. Maci, our drummer, made me listen to a Logic project he recorded in a Motel 6 in Denver, during our first US tour with Birthh. I started singing along about a subject we often discussed at that time: “To get to the bottom of things you always have to ask yourself: why?”. When I think about it, this might be when the name of our project came out: YOY – “Why, oh Why?”, an eternal doubt about everything and everyone. The song evolves from an ethereal intro to absolutely nothing, with a super dry voice and a dry sound created by Raffaele Marchetti – who also recorded, mixed, and produced the album – and played by Maci on the keyboard of his phone. Then the song turns into an intricate dance rhythm with an electronic synth bass that leads to a psychedelic ending.

Unknown. The idea for this song came from Filippo Volpin*. The pads that point to infinity are filtered then reopened and linked to a rarefied guitar and to the intricate patterns of acoustic drums to transport the listener into a constantly unknown world that is very familiar, because that’s the one we live in. Sudden changes, speed, chaos, Goliath that continuously crushes David and this sense of injustice that relentlessly pervades our thoughts and our days.

*Filippo was in the original line-up of YOY, he had to leave us to go and study at the Oxford University, but we still owe him a lot. Giacomo ‘Jack’ Malaguti took his place.

The Park. “The Park” is an imaginary park where we can sit and meet someone that is physically distant from us and that we miss. In this park, we can reconnect with what we love. Maci came up with a piano line that totally transformed the previous version of the song, fitting perfectly with the mood of the singing voice. Everything else provides the background, as the voice and the piano move towards the end of the song.