Just take a song like Maya. It starts with a deep and declamatory voice, which almost reminds a sort of Ian Curtis american melody stretched out on a carpet of obsessive drum and bass that seems to be coming from Rio de Janeiro more than from Chicago, topped by a slippery guitar that makes you think punk also bloomed in Caribbean lands. Suddenly melody changes and a skinny rock stone takes its place. It is made of solid and blank parts and the melody gives way to scratching frames, the guitar and drums chase as guttural bellowing of elephants who rest only at the end, where tribal rhythm collapses and yealds to a skeletal melancholy blues. Maya is just one of the 9 tracks featured on Tastyville, the new Three Second Kiss album after 4 years from the previous Long Distance (2008 African Tape), but it is the metaphor-song of a work born from the belly most than the brain. Each piece meets only the cinematic structure of the skin, changing course and direction without premeditation of style that is not the free guide of instinct. Tastyville shows a new strength of the Italian band, its desire to open up and let luxuriantly explode a sound - the rough and minimal sound created by the guitar, bass, drums triangle - in a brand new and free fluorescence that maintains the attitude of punk without its but visionary sound anymore. May be that's why Tastyville is an experience that embodies several emotional states rather than showing us only one philological style. No labels to spend cause everything is mixed, blended and digested. After many years of activities so many things have been told about Three Second Kiss. For us, the 9 tracks of Tastyville are primitive, emotional and visionare music. This is exactly what remains when you take away the superfluous.