Alice
Falsi Allarmi

"The passing clouds/Parentheses of paranoia/Axioms that unite us/In the soul, in reality"

In the opening lines of "Notte A Roma", Alice begins to reveal her need to explore new emotional and perceptual territories in her discography production. This is evident in this song, where she pauses to investigate the moment, an instant of life, everything that flows independently of what one does. In fact, the song talks about a moment of a Roman night, in contrast with everything happening outside, especially the thoughts of those who look far ahead in time, projecting forward (the author makes reference to summer and holidays), losing contact with the present, the moment.

These themes will then be advanced in her subsequent works and fully expressed with Camisasca's lyrics in "Il Sole Nella Pioggia", but in "Falsi Allarmi" you can feel among the grooves this need for evolution on Alice's part, and to detach from the easier and more traditional song form that had already been abundantly and fruitfully cultivated in "Azimut". "Falsi Allarmi", released in 1983, is the fourth studio work in four years, and despite some signs of fatigue, it is nonetheless a well-made work and produced sublimely by Carrara. In this work coexist many of the paths followed by Alice in her early production, the New-Wave, the pop, and a bit of light experimentation at the level of voice usage; it starts with "Solo Un'Idea", a song on the theme of friendship turning into love, decidedly rhythmic and fine, with particular attention to the percussion arrangements; the first electronic percussive sounds peek through, but they are secondary, as the drums are still acoustic.

The second piece, "Osanna", seems derived from "Capo Nord", a New-Wave still rhythmic and essential, with a confessional text and the chorus sung by Alice with the madrigal choir of Milan for a peculiar rendering of the whole, there's a lot of Battiato at the end of this piece. A peculiar song is once again "La Canzone Più Bella", with a piano melody, opening with a synthesizer, and Alice's wonderful voice singing of an estrangement in female beauty; the following "Viaggio", on the other hand, is the least interesting track of the work.

The second side opens with real sounds, a busy street, a dog's barking, a car, a slamming car door, "Il Profumo Del Silenzio" is an enigmatic song, hard to understand, impenetrable "the wind fell during the evening/the silence smells for me", with "Carthago" Alice returns to satirize with subtle irony the seaside world, "Along the Adriatic beaches/Standard play-boys strolling/Superman attitudes/They make me laugh/juke-boxes playing relentlessly/My prisons are stereo", the music is rhythmic, almost Caribbean, but it breaks halfway through the track to give way to a beautiful vocalization supported only by the synthesizer. It ends with "Per Favore Non é Amore", a very interesting track with Alice following the rhythm of the bass and drums to dictate the words of the text.

In the end, "Falsi Allarmi" is once again a remarkable album that marks the end of the first part of Alice's career along with the cover album "Gioielli Rubati" from 1985.