Because rock also had a life, it wouldn't make sense to dive into it without having its story to tell. In ten songs, fulfilling the canons with the due excesses of a conceptual album, but without the decadent abuses that led them to think of a narrative, the Stone Dead personify rock in the skin of Tony Blue, who lives the sound of each song of the cradle to the grave.

“Good Boys”, released in 2017, is the missing document in national rock, a record in which a band sounds like that and does not dispute attention. The electrifying cycle of rock, with the guitar in hand pulling in the same direction as a prominent and detailed bass with various notes of melody, finds a new life in the register of the band of Alcobaça that seems to have attended all 66 rif schools to 77. 

Without being left behind by revival, the Stone Dead drank from all the right sources to create their own course, in which each rip of the guitar plays with the tracery of the bass and the countless drums; in which the psychedelic strangeness insinuates itself almost languidly to the synapses; in which pop hooks do not win over rock power. Whoever said that rock was dead is because they didn't hear Stone Dead.