Diaframma
Tre Volte Lacrime

THE REVIEW

It's hard to follow up after a debut like "Siberia", but Diaframma succeed in their endeavor, freeing themselves from the dark label, which had become too limiting.

Melody pervades the entire album, and although darker elements are present (Madre, Autoritratto), they remain on the sidelines, not forming the essential core of the work, which will kick off the new "fiumano" style of composing.

And to think that the making of the album didn't start off under the best auspices, beginning with the scant promotional support from I.R.A, their record label busy promoting their other iconic band, Litfiba, leading to the loss of many valuable collaborators, and as if that wasn't enough, the departure of the Cicchi brothers, the rhythm section of Diaframma.

Nevertheless, Federico Fiumani manages to turn necessity into virtue, releasing another small masterpiece oblivious to trends, timeless, and therefore even greater; starting from the title track, one of the most beautiful songs written by him with an evocative and melancholic text like few others. With "Grafico Deposit" for a moment it seems like going back in time, but it is only an impression, swept away by the hard-hitting "Libra", the refined melodies of "Oceano" and "Falso Amore" (enhanced by the mandolin) and especially by "Marisa Allasio" (where a swinging clarinet treads) masterpiece of the album, and of Diaframma’s entire discography.

Miro Sassolini's tenor voice adds value to the songs, defined by Fiumani himself as "The voice of my soul". In 2001 the album was reissued with the addition of two songs "Io ho in mente te/Hypocrates", originally released as a single in 1986 shortly before the album.