La Gola

The start has the edge of light-hearted frenzy, with the surrealist whirlwind of Indaffarato (Divertimento). La ricognizione (Scherzo # 1) changes, suddenly, perspective and immerses us in multiple parentheses of meaning. The sound becomes warm and rejects linear development. It is a pleasure to get lost in its sinuous baroque architecture, which overlap carelessly. La ricognizione is already the center of the album, full of optimism about the possibility.

After the openings, the time for disillusionment comes. In La rabbia (Requiem for D.T.) there is an attempt to affect one's own pessimism, which is basically a form, even narcissistic, of optimism. The instruments screech, strive to communicate the impossible communication, the absence of dialogue. Unexpected, banality of happiness, summer rain, Il giorno arrives (Rifles d’ un timp). Atmospheres reopen, joy after pain, sunbeams. And the different musical influences and suggestions, together with the ever-present, in "La Gola", taste towards the soundtracks of black and white films, bloom, coexist. In La stanza (Two halves of four corners) we take part in more intimate, refractory and refined spaces. The search, in Sospeso (Ricorrente), is essential: the notes tend, monochords, in search of the moment between end and beginning. The journey ends with an inversion, an afterthought but changed by experiences: inevitable getting back together, a partial denial. Il ritorno (Traffic) opens to a new beginning.

A loneliness that flows away, proud.

Giampaolo Izzo