· 2xLP comes in gatefold sleeves, printed innersleeves and inlay. Vinyl is limited to 350 copies After 2 years from the release of "III", Dusty Kid is back with the new album that astonishes the audience once more for the change of direction. Every album by Dusty Kid is a journey and "Not So Green Fields" is, beyond doubt, his most magical, real, human and mature one. Yes, Dusty Kid has grown up but still able to surprise, reinvent himself and move the hearts of his audience. This journey is in fact surprising for the production and continuity of the tracks that, though extremely different from one another, share the same common denominator: the heart. He claims he has poured it completely this time, and one can hear it. One of the reasons being that, for this record, he has found his muse in his beloved island, Sardegna. And this, one can hear it too! The record is incredibly colorful, every track is a small universe on its own that enters your heart sometimes forcefully sometimes sweetly, but that always hits the spot. This is a work that is a true movie where all of the tracks live organically with one another to create a fantastical, touristic, romance-like and moving plot. As the artist himself says: "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. 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 the land where I was lucky enough to be born in and that I love every year more and more. "The Wedding" opens the album with a 'strange' wedding scene from which a political, tribal and bizarre manifesto seems to rise: "We are the Troglodytes", symphonic percussions and jungle voices explode into a raging corteo, that claims with cunning irony, a culture and diversity that have always been underestimated by the fellow citizens and foreigners and seen as 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) changes the perspective again and floats between the desperate melody of a piano that cries to be freed and the epic sounds a la Jarre in the 70's Suddenly everything slows down and stops by the shore, and just like a shell that opens to revel its treasure "Masua", we jump in the Sardinian sea. A sinuous voice sings a melody that seems to come from the depth of the waters and the earth, the voice doubles and little by little they become 2, then 3, then 10, then 20 voices that intertwine and reveal a majestic and psychedelic empire of voices that spring out of the waters and fly high in the sky. A masterpiece! It is not a dance album anymore but the album here becomes pure progressive 70's British rock The beat slows down more and from the psychedelic tuned we dive into the moving "Durke". This is a rarely beautiful ballad that evolves in an emotional deep mantra in Sardinian language, sung by a woman's voice that leads the choir. Pop guitars, rock drums, and a finale that is another gem of the record. Masterful pop music. The journey continues with parenthesis about fires, an issue that haunts the island every summer. One more unexpected change of direction, dance music is back in the album but far from the techno music we are used to."The Arsonist" delves into 90's trance, reminiscent of legendary Jam&Spoon and rave parties. An intense explosion of pathos reminding us of the glorious Loveparade to describe a dangerous situation, a desperate attempt to save the Sardinian land. The pathos peaks with "Doa" when the fire leaves behind utter desperation and desolation, ashes and smoke. "Doa" is another stage in this new journey for Dusty Kid. It is an emotional and melancholic stop, drenched in the magic of the spaghetti western genre, honoring Morricone that has always been the artist's idol. 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 ecstatic moment of the album. "Arvéschida": 135 bpm of pure poetry that blends the most entrancing techno with the most lysergic trance, the flight of seagulls seen from a hang-glider, pure hedonistic and metamphetaminic emotion. In its final epilogue "Not So Green Fields", echoes another of Dusty Kid's loves, American folk music, a naïf like Dylan for an ode to his Sardegna and its warm summers and blue sky. A good-bye to the visitor that goes back to his northern country who would like to come back soon. The very last minute on the album is a reprise of "Masua", to represent the souvenir that sinks in the memory of anyone that goes to Sardegna, an island so wild and magic. Dusty Kid steps away from the modern techno trends and does it with mastery and confidence touching territories that are very diverse but still very cohesive in a album that could surely be a classic movie, powerful enough to make the listeners smile, cry or (to mention the words from "Durke") to leave an indelible souvenir.