Federale - Love & Other Lies
Review by
Alex Dematteis
Musicshockworld
Salford
October 18, 2026
Federale - Love & Other Lies
‘Films are a breeding ground for magicians: they allow you to craft a story with your own hands.’
Mario Bava
Presence and imagination have always entailed a state of instability, a guaranteed touch of unhappiness, an exploration that transcends meaning and utility. Yet they are necessary, for this is an inescapable human condition. Art makes this its lair, its mantra and its direction. Cinema, photography and music establish a close, fertile connection in this regard – the certainty that the real and the concrete are open to pauses, re-evaluations and immersions into other realms that are not entirely within reach. When plots, emotions and real life in search of an escape are added to all this, works of immense beauty and tension come into being; the non-places and figures projected into the mind take control, and different dimensions coexist within us.
In Federale’s new project, we find, amongst other things, the following elements: a whirlwind of thrills, surges, restraints and drama; the enchanting sensation of a film transforming into the film strip of an old camera, from which music and a voice suddenly emerge to sketch out this illuminating scene.
The mind takes hold of the impossible, of the infinite, and the album manifests the power of a circus big top which, devoid of animals but full of souls trying to connect with the celestial hemisphere, hosts their wanderings, blessed by stories in which wounds and dreams carry equal weight. Time becomes an unconscious mass of meteoroids, destined never to reach planet Earth, never to become meteorites.
This is what happens when listening to this immense new work by the Portland bard, Mr Collin Hegna, who never forgets the story that began in 2007 with *La Rayar: *A Tale of Revenge* and continued unabated, to illuminate consciousness and its opposite, to transform the listening experience into a projection of images brimming with dust, blood, mental torture, scenes of anguish and subtle melancholy in search of embraces. Many years have passed; the musical tapestry, steeped in gothic-western, has embraced other modes of expression, and in this new release everything is perfectly harmonised, as if the guiding principle of this exploration were precisely not to forget a single thing.
Songs that seem to draw closer to the multifaceted nature of psychedelia – the kind that transforms sunlight into multiform sensations – accompanied by a desire to carry forward their legacy from the 1980s into the present day, not through imitation but with a sense of gratitude and appreciation, free to carve out their own creative space. Indeed, whilst listening to this enchanting album, one discovers just how far the songwriting has come, through an evolution that does not shy away from a modest approach to songs with the ability to be catchy, whilst still seeking to preserve that magnetic darkness that has always distinguished the American band.
Broader melodic openings, a collective ability to ensure that individual parts naturally intertwine with one another. This explains the illumination of the landscapes and the stories, written as always with great mastery by Collin, in constant contact with the mental and physical journey that begins in his city and, as ever, reaches Europe. But – and here lies the surprise and the wonder – it is not merely his long-standing fascination with crime fiction, horror and the cinema of great Italian directors; rather, it is his ability to venture into little-explored territories, with adventures brimming with new characters, new explorations and the intention (that, yes, as always) to give physical form to the stories told. Indie rock offers a lighter listening experience, whilst psychedelic rock fills the mind with new perspectives, resulting in a joy that lights up the sky full of grey clouds: a state that allows this band to maintain its tension, skilled as they are at seamlessly integrating diverse thematic elements and contradictions, whilst possessing the intuition to transform potential contradictions into a linear journey, bestowing magic in a all-encompassing way…
Encountering the fusion between the acoustic roots of American folk and country music and the reserve of old Europe, amidst shifts in rhythm, scenes and a connection to the stories told, reveals new and undeniable qualities – a concrete blend that allows the compositions to embrace the torrent of elements at their disposal, rejecting only in part the areas brimming with positivity characteristic of country music in particular, to display the confidence of a vulnerability that knows no fear. New magic, a new twist… We are not faced with outright murder ballads, but we can sense their presence, with the rot that refuses to be abandoned, offering respect and understanding. The guitars, sharper than in the past, are the scalpel that uncovers the truth; the rhythm provided by the bass and drums is a leaden suit brimming with unexpected agility; the keyboards are pleasantly deceptive melodic whispers, capable of transporting it all into the depths of our subconscious.
The masked rebellion remains intact, as does the long line of secrets that this band’s music has always prioritised preserving – an illuminating diadem for listeners endowed with profound insight.
This album plays with roles and demands accountability, as if it were a work that allows no lapses in attention: every second requires commitment and the will to remember. The references I mentioned earlier are indeed evident, but one must be careful, for Collin is the master who transforms the studio into a new path to follow, a balanced guide who, whilst writing, investigates, stores and certifies what must remain pure, distinguishing it from what must be altered, and leads the art of music into a complex cockpit that hurtles, with awareness, between the three cornerstones of time: past, present and future. The work on style is majestic and instantly recognisable, and in this respect the band’s long-standing fans have reason to be pleased. The narrative, which has always been their strong point and defining feature, here incorporates subtle refinements and almost imperceptible shifts in direction – like a small scarf draped over the lapel of a jacket, which does not weigh it down but rather achieves the exact opposite. Thus, futility and vagueness enter the fray, in an arrangement that is never forceful but resolute, perfectly expressing the breadth of this sextet’s abilities and perspectives.
When the hypnotic torpor induced by the rhythm section rears its head, the music opens up its reflections even further, becoming a sweeping, immersive avalanche, devoid of any imagined disaster: and it is new magic… It is a heavenly sensation to touch upon the misty quality of these songs, allowing us to brush against the musical elements that define the sense of abandonment, letting melancholy coexist in a stubborn manner, drawing everything into the lysergic realms of which this diadem of notes is brimming.
This project cannot be fully categorised by the individual elements of which it is imbued: songs like a race that must leave us behind, the necessary pauses which, however, prevent us from catching up with them, transform this inescapable truth into a beauty that cannot even be touched but is perceived, perfectly bestowing upon us the painful joy of the realisation that there is always a distance between art and human life.
Federale write a novel with grey words on a black background: we must train our eyes to endure, our senses to be gently tormented, and abandon for ever the notion that we can decide, based on our own taste, whether it ‘deserves’ to remain within us or not, because in this respect *Love & Other Lies* is overwhelming; it captures and immobilises any resistance, becoming an artistic act from which to draw sustenance endlessly… Musically, we witness a systematic and prolonged embrace of a striking fusion of genres – a neat, clean crossover capable of preserving style and concepts, with the aim of emphasising its own identity rather than merely serving as a backdrop to these spellbinding and compelling lyrics.
The character of the notes and their structure shift the centre of gravity significantly from previous works, confirming what the penultimate album had hinted at: the band is moving towards new horizons; it has grown in its mastery of the big picture, creating a cohesive whole that captivates and wins you over. The sound and production prove to be remarkable and dominant: not only the attention to detail but also the discipline with which everything unfolds speaks of choices, impulses and determination that result in a composition verging on perfection.
We find ourselves on a stage shrouded in perfect darkness, the very veil that envelops these compositions, like a solemn spectacle in search of evocative spirituality, consistent with the themes and the ways in which they are developed. Mystery and introspection reign supreme, in a visceral way, in whirlpools into which our attention is drawn.
The poignant power of this musical tapestry leads us to the magnetic sensation of living on the edge of an abyssal space, over which the band wields absolute control. This prophetic experience allows us to imagine a future in which this band will continue along this path: to give music an intellectual form, a foresight, is to have captured destiny, and the quality of the whole cannot fail to astound.
Collin Hegna’s voice and vocals, of course, deserve a chapter of their own: his ‘noir’ baritone, with its gothic sparks, lingers, comforts and delights us with its brilliant blend of power and skill. Yet on this album he adds a mastery of lightening the tone of tragedy, with a narrative that seduces the vocal cords and transforms them; every syllable carries weight, sensuality becomes a form of freedom, adding tension yet with a sense of ease, knowing how to draw out the vowels at the end of lines when necessary.
Skilled with accents and tones, he has worked extensively on breath control and rhythm. Like a noir actor on the stage of theatricality, he recites the verses rather than sings them, thereby imparting fluidity, conviction and the sensation that there is no physical body behind all this, but rather a series of spirits lining up before the microphone.
This touch of dark elegance is addictive, as if it were a blend of singers to whom we offer our devotion: he distils them, amplifies them, then sets them aside, leaving us in the presence of his originality. Often, in these tracks, one realises how the recording studio is merely the outpost of a performance that his skills will develop on stage in the future. Federale are undoubtedly one of the very few musical acts that already make you imagine how their recorded songs might be reworked during live performances – by choice rather than out of logistical necessity…
There was talk of a greater inclination towards pop: not an insult, not a denial of their roots, but rather an intriguing and probably deliberate ability to breathe new life into their songwriting, and this is particularly evident in the faster-paced tracks, where repeated phrases, and the focus on a short but precise phrase, lend greater emphasis to the memorable aspect, making the whole thing incisive and exhilarating.
Echo & The Bunnymen, Electrafixion, The Mission, The Psychedelic Furs, Daran et les chaises, Jay Munly, Lilium, Amigo the Devil, The Dead South: for various reasons, all these artists share common ground with this album (particularly in the way the lyrics are written and in the cinematic elements), suggesting that such openness and a willingness to engage with different times and places are an undeniable quality of this band.
The melodies, percussion and arrangements perfectly capture what appears to be: a tree-lined avenue that follows the unfolding events, amidst hostility, aggression, sombre tales and battles (both mental and physical) that the ensemble resolves through its descriptions and the wings it bestows upon the protagonists. The magic returns, as you will see, for the umpteenth time.
One is left speechless when, after several listens, one realises how the melodies depicted are constantly capable of creating chasms, as they are steeped in history, hard work and commendable resilience, making the deepest kind of love possible: it is time, the life-giving cycle, which stands alongside intelligence, the best friend of these gems.
Now let us go to the heart of the matter, pause and pay homage to their new project, which will bring so much satisfaction to those who experience music as an act of understanding and contemplation…
Song by Song
1 - A Strange Vice
Darkness, vices, conflicts, duality and awareness open the album, allowing us to appreciate the beauty of a guitar solo that takes the verse and perfects it, moving between North and South American rock, before landing in Europe with the keyboard – skilfully guiding the pauses – to reach the chorus, which is here wisely centred on the phrase that opens the track and lingers, like a sweet obsession. An emblematic example of how the band’s early days in this new artistic endeavour are merely hinted at, showing how much water has passed under the bridge whilst retaining a youthful vigour derived from the sound, the backing vocals and the light that shines through the lyrics and clusters of notes. You dance to it, you sing along to it, in a sublime corrosion of the senses, a loop that gives us goosebumps and makes us smile. It sounds like a country song infected with pain, enriched by instruments that propel it towards an unstoppable rush…
2 – Thick As Thieves
The first real surprise: the journey from Portland to Liverpool is no easy stroll… But the American band immerses itself in the psychedelic haze of the Bunnymen (90s) and crafts a colourful gem that turns our preconceptions of their songwriting on its head. Here we are faced with a syncopated rhythm, powerful yet melodic drumming, and the guitar – both rhythm and lead – acting as a guide, shifting old habits and creating new ones. The vocals benefit greatly from this, free to interpret the various stylistic elements and give rein to evocative imagination. An illuminating lyric on sincerity, allegiances and enemies, with a candour that is anything but weakness or submissiveness: Collin pens a substantial and relatable treatise on war, through imagery that clarifies the true distance between people.
3 - Kill The Rabbit
Amidst the toxicity of this cryptic yet deeply bitter writing, we witness the magical encounter between Wayne Hussey, Ian McCulloch and Collin himself. Then, when the keyboard makes its presence felt, everything becomes transcendence, absence, a hypnotic melodic nightmare, a radioactive experience… The drumming hints at its presence, persisting in its own way to make us move, whilst the sonic envelope paralyses us, sedates us, captivates us. Shots are fired, people are wounded, people run; the sea and sky converse on how to welcome the protagonists of this episode, whilst in the end we realise how just a few notes can create both turmoil and loyalty. The third track on the album really packs a punch, whilst we already realise we’re witnessing a display of power that needs no gimmicks, high volume or distortion. And in the end, the wounds run even deeper…
4 – No Cure
When Collin speaks of distances, whatever they may be, he is truly sensational and unique… Amidst flashes of post-punk and psychedelic pop, this fourth track showcases the perfect dynamics of the sound, the breadth of its influences, the starkness of the melody, with this melancholy stamped right on your chest. A sense of harmony fills the space: even during the verse (when the vocals take centre stage), you can sense how the train hurtling beneath the strings is that of tightly-knit instruments, working with conviction to create a structure capable of sustaining the journey of the story depicted here. Echoes of Fields of the Nephilim (in a more stripped-back form…) significantly shift the boundaries and flavour of this track, which is so eclectic, bold, energetic and, above all, extraordinarily adept at balancing all its constituent elements.
5 – Sad Machine
A track that seems to evoke the Holy Bible, through its imagery and flow, with lyrics that intertwine with the vocals whilst the music creates volcanoes in the desert, at a slow pace, through layers and interludes that give the sensation – like a real spectre – of being guided back in time, and which demonstrates once again how this band’s greatest strength lies in transporting the hourglass to periods and places far removed from the present day. The track’s deliberate pace is brilliant, growing richer as it progresses with minimalist yet substantial interludes. A continuous scratch from a grating guitar marks this musical gem from the very start – so close in style to Wovenhand – before it finds its own epic quality, which proves to be reminiscent of certain scenes from Sergio Leone’s films…
6 - Fear Naught
Perhaps the mature man is the one who overcomes fear. The composition captures this significant milestone, with enemies falling before this wise, steadfast, defiant and free human being. Such is the music: a rational missile, made up of guitars that span eras and genres (ranging from darkwave and post-punk to a touch of Krautrock), delving into the dark side of pop. Sensual and transparent, compelling in its brevity, even if we’d like it to last ten minutes…
7 - I Want A New Drug
The first of the two covers is the most astonishing: it changes the character, the meaning and the style, transporting us more into the suspended garage rock of British bands from the latter half of the 1960s. The vocal pairing of male and female voices proves perfect, whilst the guitar scrapes at the walls and makes us realise just how pleased Huey Lewis might actually be with this reworking of his track. It reveals, amongst other things, how the bass is given a space that contrasts its sombre tone with the brightness of the other instruments, ultimately serving as an excellent device to create greater fluidity and interest…
8 - The Score
Man has always sought wealth, and the gold rush is not something to be confined solely to the nineteenth century… Here we see the past and present intertwined, with Collin raising the pitch of his voice and refining it, whilst the band subtly infuses the Delta blues with subtle hints; the rhythm feels like that of a car travelling steadily without losing its way: somewhere between neo-psychedelia and the spaghetti western, we’re treated to a track that feels like a pilgrimage. It’s marvellous to hear the interplay between the acoustic (rhythm) and electric guitars, with the latter arpeggiating and delivering short solos. The vocals are velvety and warm, and the indie-rock sound really comes into its own as it blends with the band…
9 - It Ain’t Easy
Ron Davies’ track (made famous by David Bowie) is transformed into a circus where a Western-style backing, brimming with gothic flair, seeks to blend with a soulful spirit that marries perfectly with the lyrics and Collin’s vocals. The opening brings the Sixties back to the heart, and then off we go: a perfect fusion of the tendencies and tensions of the nineties finds its way to the fore in the chorus. All this shows that it is not a true cover version, but rather the beginning of their stylistic exploration, set and developed within this hellish paradise that is *Love & Other Lies*. This version evokes certain moments from *Ocean Rain* by Echo & The Bunnymen: Federale expand upon, delve deeper into and embrace the Thin White Duke for a few moments, before planting another flag on the terrain of this album…
10 - Hey
The conclusion is a stunning, effervescent demonstration of how the psychedelia employed at a certain point in the careers of the Animals and the Beatles – later revived by Echo & the Bunnymen and Cast – finds a worthy heir in this track. It is moving to witness the sheer volume of melancholic particles emerging from this laboratory, where the elements are structured to contemplate the vastness of the sky. The vocals resemble the amorous approach of a cat trying to attract someone’s attention – and succeeding – thanks to techniques that emphasise accents and crisp, precise delivery, without any smudges, whilst the guitar delves into the depths of the blues and delivers a truly effective solo…
Why buy this album
Certainly because research, quality, consistency, tension, style, memory and vision are deeply embedded throughout, generating reflections and emotions which, in a hall crowded with protagonists, manage to convey impact and mystery…
P.S.
On Bandcamp, you’ll have the chance to listen to two further tracks – both instrumentals – which, for their evocative power, beauty and intensity, I personally consider to be part of the album…
Album of the Year No. 3
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