Deca
Strategia Esoterica

After reading rivers of ink over recent months about this latest album by Deca, I decided to say something myself. If only for my personal affection and long acquaintance with the so-called "sound alchemist." Who - it must be said - has recently consolidated the authority of his now four-decade-long work in an unequivocal way. Even the Treccani encyclopedia has created an entry dedicated to him!

That Deca (Federico De Caroli) has solid foundations and very clear ideas is also demonstrated by Strategia Esoterica, an album that seems to close an ideal trilogy with the previous Lucifero Alchemico and Antimateria Psichica and once again draws inspiration from themes of the occult, esotericism, and the paranormal. An eloquent cover by far (a dark God Pan from behind, a huge chessboard), an even more eloquent title, and above all an unmistakable sound that drags from the first minutes into the abyss of the unknown and magical. Sound perhaps even more fascinating and visceral, while very refined, than in works of the past years. The melange of alien voices and arcane orchestras moves and unsettles at the same time. The opening of Energia Iniziatica is worth the listen.

Then follow the Lovecraftian atmospheres of Alchimirage, the poignant central melody of Esoteros (perhaps the most accessible piece), the abysmal mystical-industrial evocations of Genesi Apocrifa and Tubalcain. A compositional genius pairing that sums up everything an experimental artist can say without making simple musical wankery for its own sake.

The album closes with arithmetic progression - because each track lasts one more minute than the previous one - and with the disturbing and dissonant suite that gives the album its title, pervaded by alienating symphonic echoes of unheard-of power.

There is everything in Strategia Esoterica: there is the tradition of the German Cosmic School and there is the poetry of Vangelis, there is the background of concrete musique and there is the minimalism of classical-contemporary. But above all, there is the trademark of a musician who has never compromised, has always maintained a low profile, and quietly carved out a space among the greats. Reconciling the tastes and expectations of a transversal, ever-wider audience and the front of music criticism; which I see also giving this work scores never below 7 and flattering reviews.