Carmen Consoli
Mediamente isterica Deluxe Edition

When I heard about the reissue of her third work, I thought: "Why? Forced attempt!". Then, upon rereading, I noticed it wasn't just a reissue but a complete revisitation of the entire album: the singer-songwriter was challenging herself again with what she had called "her discographic disaster." This piqued my interest and gave me that funny, horrendous grin of someone who loves to bask in the joy of good news. In fact, "Mediamente Isterica Deluxe Edition" is not a limited edition of what, in my opinion, is one of this songwriter's most beautiful works, nor is it a way to fleece money from fans (who, we all know, would buy anything when it comes to their favorite artist!): it is proof of how much Consoli is attached to this work of hers and has decided to give it a youthful touch with the suitable maturity, gained over the years, while remaining faithful to the original at the same time.

The result is precisely this Deluxe Edition: two CDs, one being the 1998 edition, the real Mediamente Isterica, enriched with some bonus tracks, various demos, and a duet with her producer (sadly no longer with us) Francesco Virlinzi ("Eco di Sirene"); the other being a complete revisitation of all the songs, re-sung, re-played, reproduced plus an unreleased track ("L'Uomo Meschino").

And so as we go through the tracklist, we can hear Carmen dealing with the already known "Besame Giuda," "Sentivo l'Odore," "Geisha," "Contessa Miseria" singing them again with the same emotion as before, with a much harsher, mature, raspy, different voice and a dirtier, captivating, more modern sound. It's not just about evolution and experience. It's about being attached, as she herself states, to past songs that belong to her now more than ever, thus giving a jolt to the past, shaking off the weight of ten years from her compositions and continuing with her quote "recognizing them fully mine. A face-to-face between today and yesterday."

The rage, the abandonment, the torment present in her lyrics acquire new tones and forms, related to her sharp and almost unique way of contemplating revenge in the shape of a subtle irony of a woman with a capital "W". Seeing that siren with the skeptical and indifferent gaze again, with her methylene blue eyes is the confirmation of the excellent fusion between present and past: fidelity to the original with the innovation emerging from the new sounds that enrich and complete the work in the best way. And believe me, listening to the new versions is like giving them a new life. Also good is the dark, cold unreleased track that in this revisitation matches with the old productions. Always excellent "L'Ultima Preghiera", the most bizarre and fascinating piece of the entire album with its chaotic finale where one hopes slanders can finally find an answer.

A wonderful gift to know and appreciate, once more, the fury present in this work.

To listen and listen again. Because Consoli is either loved or hated. There is no middle ground.