C.S.I.
Linea Gotica

After the dissolution of CCCP, one of the very few original bands to emerge in Italy in the '80s, in 1993, the same members of the "Soviet-inspired Punk" gave birth to a new project.

It is the Consorzio Suonatori Indipendenti, featuring the imposing figure of Giovanni Lindo Ferretti, the bold guitar skills of Massimo Zamboni, Giorgio Canali (guitar), Gianni Maroccolo (bass), Francesco Magnelli (keyboards), and Ginevra Di Marco as the second voice.

Responsible for a music focused on well-defined scenarios, in 'Linea Gotica' the CSI manage to create vigorous sonorities with a lean, collected, almost solemn air, particularly marked by the limited use of drums (played by Marco Parente) and Ferretti's singing, at times "at rest," at times expressive.

Recorded in the Tuscan Val d'Orcia, 'Linea Gotica' is an album that reflects its time, anchored in different but complementary historical contexts, like its authentic melodies that embark on an initiatory journey through the devastation of the former Yugoslavia, passing through Italy during the Second World War, with references to the poetry of Beppe Fenoglio and Pier Paolo Pasolini.

A journey that begins with the strong and epic stride of Cupe Vampe, a symbolic track of the CSI where, on the first listen, one is struck by Ferretti's bitter lyrics, the strident violins, and Massimo Zamboni's vitriolic solo at the end, which seems to simulate the burning of the library of Sarajevo, millennia in paper lost forever; Millenni being the most furious song that distances itself from a God not recognized, simply the same as all of us. Sogni e Sintomi strikes with the slow crackling of a hypnotic melody, supported by Maroccolo's dark bass with Ferretti whispering his concerns about a world made only of fictions, without even dreams left to imagine. E Ti Vengo a Cercare, is the reinterpretation of the famous song by Franco Battiato: the Consorzio renders the atmosphere more sickly, aided by the tormented and intertwined guitars of Zamboni and Canali, a certain decadent air in the structure, and a cameo by Battiato himself in the final verse.

In the title track, the myth of the Resistance is precisely evoked; L'Ora delle Tentazioni and Io e Tancredi are the most fascinating tracks leading to the finale of Irata, moving for Ferretti's increasingly profound singing, the enveloping sighs of Ginevra Di Marco, and the harmonic crescendo performed with the usual, extraordinary naturalness.

Few Italian albums are so genuine and intense as 'Linea Gotica', and if you do not yet have it in your collection, this is definitely the time to seize it.