‘Gemini’ is the debut album from Italian four piece Good Morning Finch. It opens with La Stagione Delle Eclissi, a really well crafted track with a soft intro that builds into crashing drums and nice harmonies that sets the album off in the direction of pop/rock indie vibes. I also really enjoyed the transitions into the more stripped back instrumental sections. This is swiftly followed by Cerimonia, teetering up near the 6 minute mark but it’s so chilled that you can easily get lost in the drumstick rhythms and sweet harmonica sounds. Would definitely be one for kicking back in the garden to on a sunny day.

There is of course the noticeable language barrier with this album, and as much as I’d like to comment on the lyrics my 6 week Italian module only equipped me with the skills to successfully order an ice-cream. However it doesn’t in any way hinder my listening experience, with Amo Quando Cadi Giu showing how powerful a little triangle can be for a song, dominating the arrangement while being joined by background bass lines and subsequent building acoustics.

I’d be interested to see how Nottre Elettrica would come across live, a more drum infused sound with uptempo electro-guitar efforts also coming to the fore. A drum break around the 3.30 mark also welcomes a more rock focused segment to the track which portrays a slightly heavier aspect to their sound. Atomite is the first song on the album I’d be inclined to reach for the skip button. The intro is nothing short of someone trying to tune in a radio dial or dodgy TV aerial, and I guess they were kind of going for a mysterious grunge approach and it builds intro an electro-rock instrumental but they lose me about half way through.

Copenhagen is a bit of an odd one. As the longest track on the album it appears on first listen to be three songs that got mashed together. To take it apart, the first ‘piece’ as such takes a near 2 minutes to get going at all, but as it progresses the following sections improve, with an upbeat arrangement and harmonies that would send it on its way to a radio friendly stamp of approval. The song only really works though if you get rid of the first chunk, which is a shame because it’s hard to tell if listeners would stick around that long to give it a chance.

La Stanza Blu is a great instrumental track, destined for something like the intro music to sports coverage or also wouldn’t be out of place on a FIFA soundtrack. Although starting off nicely, I quickly got bored of Malia, sounding repetitive to what I heard previously in earlier tracks. Again it has a darker, heavier feel towards the end of the song, and I only know that because I skipped ahead to see if anything would change. Zero focuses on a repetitive loop of chords with some accompanying drums near the end of the track, and I liked the inclusion of a slight twinkle as it faded out… was a nice touch.

Bringing up the last few tracks of the album, Cane has the potential to lose listeners at the beginning but it builds to an anthem-like chorus that is pulled back and looped around again into finely arranged harmonizing sections. Finally, the album’s title track Gemini is fluttered with so many little sounds that it’s hard to grasp them all in one go. Mysterious whirring effects and brief synth inclusions are all joined by increasing drums that leads to an impressive layered guitar mid-section instrumental.

I really enjoyed making my way through this album, although I think the earlier tracks have the more potential and appeal for listeners. I could happily get lost in several of them, but towards the end it falters a bit. There’s no doubt that they’re talented and I love their arrangements, but with some tracks being very lengthy they tread on that fine line of a great track but also giving too much at times. Definitely worth a listen though, and several tracks will be soon be given a home in my iTunes library.

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Written by Nicole Leggett

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