Cesare Cremonini
Logico

Two years after the release of "La Teoria dei Colori," Cesare Cremonini throws himself back into the fray with a very "British" album, yet, as it seems from this record, taking the worst part of it. "Logico" indeed seems to continue the devolution of the Bologna-born singer-songwriter, who hadn't fully convinced with his recent works.

The first song of the album, preceded by a brief musical introduction by Alessandro Magnanini, is the launch single Logico #1, which is perhaps the best song on the album, which already indicates the less than stellar level of this work; it is, in fact, a decent, catchy song with an acceptable text (enriched by some Beatlesque quotes, which Cesare never fails to include), but nothing transcendent, and still far from what Cremonini had gotten us accustomed to in past years. It continues with Greygoose, which tells the classic one-night love story, nice arrangement, but a song that passes by without particular notes of color, followed by Io e Anna, written, like Logico #1, together with Davide Petrella, and indeed they seem the two best songs on the album. The fifth song is John Wayne, a classic Cremonini song, with some references to Panic by The Smiths. Then comes Fare e disfare, good strings and choirs, excellent arrangement in general, but a rather bland text, a song that feels much like a missed opportunity, just like Se c'era una volta l'amore (ho dovuto ammazzarlo), which deals with the separation of two parents, not a bad song in itself, but there are others that have addressed this theme much better, and Vent'anni per sempre, where we find the classic Cremonini text "a lot of smoke and little roast," with many English citations that end up being an end in themselves, in the midst, however, is not bad Quando sarò milionario, both the music and the text are good, a song that in a higher-level album would perhaps have a marginal role, but in the general struggling adequacy of this work it stands out instead for its text, arrangements, and originality of theme.

The album closes with Cuore di cane, which wouldn't be so bad, but seems destined to remain known to those who bought the CD, without coming out into the open, and Cos'hai nella testa?, a question that would logically be asked to Cremonini himself, given the result of an album that should have represented the growth of what now seems like a songwriter who resorts to mimicking the British and particularly the Beatles due to a lack of true ideas, reiterating things that now appear overused in his discography. The result isn't even that bad, but seeing what he has made us listen to in the past, much more could have been expected from an album that barely reaches adequacy.