“Not So Green Fields”, like all of Dusty Kid’s productions, represents a journey. Though Dusty Kid has matured he remains able to reinterpret, reinvent and move the hearts of his audience. Each track elaborating on the last and showcasing the range of the artist’s production skills; yet remaining true to the essence of the album.Taking inspiration from his beloved island of Sardegna, this is Dusty Kid at his most heartfelt. The feelings his muse evokes are apparent throughout; colourful and fantastical, each track resonates with the listener. Whether through force or by stealth, every composition finds a place within ‘Not So Green Fields’’“Not so green field is a story that I’ve had inside of me for a while and that I have finally decided to tell’ Dusty Kid explains. ‘It is the story of a visitor from a Northern cold country who decides to come and spend a two-week holiday on the island and that I accompany, introducing him to the land where I was lucky enough to be born in and that I love every year more and more.”
“The Wedding” is the album’s opener from which the bizarre political and tribal manifesto rises. “We are the Troglodytes”, percussions and jungle voices describe a culture and diversity that has always been underestimated by the fellow citizens, through their ignorance and obsoleteness. “Innu” strengthens this concept with the use of the Launeddas, an ancient typical Sardinian instrument, with its magic power and Mediterranean melody. “Fura Prana” (The Abductor & The Abductee) switches the perspective again and floats between the melancholic melody of a piano that yearns to be freed and the epic sounds a la Jarre in the 1970’s.
The tempo slows with tracks such as “Masua” before the album takes another twist, evolving into progressive rock. The beat slows once more and from the psychedelic tune we dive into the moving “Durke”. This is a beautiful ballad that evolves into an emotional deep mantra in Sardinian language; a woman’s voice leads the choir. Guitars, rock drums, and a finale that is another gem of a record, displaying masterful pop music at its best.
The journey continues with parenthesis about fires, which haunt the island. The album pivots back to dance as “The Arsonist” delves into 90’s trance, reminiscent of legendary Jam & Spoon rave parties. This reminding us of the glorious Love Parade; a desperate attempt to save the Sardinian land.
The pathos peaks with “Doa” as the fire leaves behind utter desperation and desolation, ashes and smoke. Honoring Morricone, the artist’s idol, it is his tribute to the raw emotion and melancholy of the spaghetti western era.
The last section of the album begins with the cinematic postcard of “Gairo Vecchio 38°C”, an unexpected visit to an abandoned little town under the moon, the singing of the crickets and a delicate duet of a piano and trumpet that give life to another euphoric moment of the album. “Arvéschida”: 135 beats per minute of pure poetry that blends the most entrancing techno with the most lysergic trance.
In its final epilogue “Not So Green Fields”, echoes another of Dusty Kid’s loves, American folk music, whilst also hailing Sardegna’s warm summers and blue sky; a good bye to the visitor who returns to his Northern country, always wanting more.
The very last minute on the album is a reprise of “Masua”, which represents the souvenir that sinks in the memory of anyone that goes to Sardegna, an island so wild and magical.
Dusty Kid steps away from the modern techno trends, doing so with deft skill, confidence and unbridled passion; introducing elements from a range of genres and ideals, knitting them into one incredible and ageless album.”