Martello
Martello
26 feb 21

DeRank™: 1,30

un link lungo

I would consider a little gift
despite the colored vinyl
Martello
Martello
26 feb 21

DeRank™: 3,59

Fulminacci - Borghese in Borghese
the young man in Sanremo will make waves
Martello
Martello
20 feb 21

DeRank™: 1,78

link rotto
They care about me (kind of). They want to make my hell in Sanremo a bit sweeter. Covers of CCCP/CSI performed by Maneskin (ugh, but maybe if they're not their own pieces...) and Gazzè, Bersani who will duet with Peyote and Colapesce and Di Martino with Povera patria. The rest makes me shudder (Irama and Cirano, yuck, stop with that throat). Well, that’s it. I return to my larval state.
Martello
Martello
18 feb 21

DeRank™: 26,86

1. Creuza de ma (I know that some characters are not precise but my keyboard is quite poor)
After "L'indiano" and its musical evolution, De André begins a collaboration with violinist Mauro Pagani that will last for almost a decade. The result of this collaboration can be described as superlative and revolutionary. Because "Creuza de ma" charts a new path made of ethnic singer-songwriter, where lyrics in dialect are also adopted. In the case of "Creuza," it is Genoese, which unexpectedly reveals itself as incisive and fascinating. But beyond the use of a single dialect, the themes and stories addressed testify that Faber is indeed in a deep creative ascent. All stories are connected by a maritime setting, starting with the departing sailors of the title track and the Venetian Ciga who becomes grand vizier under the name of Sinan Capudan Pascià. But there is more: there is the sensuality of Jamin-a, which traps the protagonist in an exciting erotic game, there is the war in Sidun, where a father loses a son crushed by the treads of tanks. And then... there is Genoa and its figures, like the Pittima, a man with a ruined physique who approaches citizens to collect their debts, or like the prostitutes who roam the city on Sundays and it may happen that a man, while getting lost in the chorus of slanders against the whores, discovers that his wife is part of that horde of prostitutes. In the end, however, there is no return. There is only yet another man who departs, but not with the hope of the sailors of "Creuza de ma," but with the bitterness of having to leave his companion on the shore, whom he will always have beside him in a photograph. And with this melancholic and delicate ending, the breath remains taken away, with the desire to relive this journey again and again. Like a whirlpool, it draws you gradually towards its epicenter and you let yourself be carried away by these vortices where we can admire humanity, the journey, war, fortune, irony, sadness, abandonment, hope, and much, much more.
Picky rating: 10 and honors
The gem among gems: Crêuza de mä (New Mix 2014)
Martello
Martello
17 feb 21

DeRank™: 26,45

2. Anime salve
Another 6 years since the last album. Still the ethnic experiments. But this time something changes radically. The tracks become textually more unpredictable, more elusive, and more melancholic. In short, it's not the lucid and tragicomic Don Raffaè, it's not Monti di Mola, it's not A dumenega. But it's also not the seafaring life of Creuza de ma or the critique in La domenica delle salme; it's a story: a story that lasts 46 minutes where complete outcasts of society appear. From the Prinçesa who lives as a woman in a male body to the Rom who have always wandered the world in Khorakane. From the anchovy fisherman to the feuding families. Everything is surrounded by a beastly aura that envelops the world while these outcasts live. The album greatly benefits from the presence of Ivano Fossati, who contributes much of himself (even in certain vocal parts), especially in the title track Anime salve, a song about solitary journeys (physical or mental, most likely the latter) towards an unknown destination that is nothing other than tomorrow, nothing other than the future. These stories pass like train cars; the lovers whose love ended up lost in a Genoese flood, the Cumbà given to a man who takes poor care of it, Nina who returns to being a child in a childhood memory. But in the end, they all pass together, in a final, desperate, and immeasurable prayer asking God to be just and to finally grant them a stroke of luck after so much suffering. But in the last 3 minutes, the words are gone. There is only music, which in its silence shows these souls being absolved, finally reaching happiness after a struggle with life. Thus ends Faber's last album: with an ascension of the lesser humanity, finally free.
Meticulous rating: 10 and honors
The gem among gems: Fabrizio De André - Anime salve (Still/Pseudo Video)
Martello
Martello
16 feb 21

DeRank™: 25,99

3. The Good News
The most productive decade in De André's career paradoxically begins with one of his best works. The Good News draws heavily from the apocryphal Gospels and adapts them to the historical context of the time. At the beginning, we find Mary, who is cast out of the temple where she grew up upon her first menstruation, and left in the care of Joseph, who shortly thereafter goes far away, and whose return would take a long time. When he returns to Mary, however, she tells him that in a dream she understood she was pregnant with the Son of God. Meanwhile, the years pass, and Mary's son is about to be crucified: she tries to consult the carpenter who is shaping the cross for her son, after which begins the procession of Jesus and the two thieves along the Via Crucis. Now close to death, the three characters are joined by their three mothers, who weep before their sons now ready to die. But one of them, Titus, shows in his last memories the repentance and the realization of what love and charity are by being beside the Son of God. And contrasting the initial song of Laudate dominem appears at the end Laudate hominem, that is, a praise to man. Man, a being like Christ, a being capable of great things and great actions, but who many times remains helpless in front of what he can see. Or a man like Titus, who repents at the point of death, who understands that his life has indeed been wicked but in a moment loses all its value. Man may also be capable of all this, but time now speaks clearly: man has forgotten the love for life. And he lives like a plant, his tiny existence. But, according to Faber, nothing is yet lost: man can still find these values. And he can do so only with a last desperate examination of conscience. To dust off his sins and return to live as God commands.
Meticulous rating: 10 and praise
The gem among gems: Il testamento di Tito
Martello
Martello
16 feb 21

DeRank™: 5,37

Il MOSTRO di FIRENZE: Un processo italiano (Parte 1)
From 8 murders and 16 deaths to "Viv'i dushe"
from a killer to four half-witted Tuscan guys
from body part removals to the vibromasseur for hemorrhoids
Martello
Martello
15 feb 21

DeRank™: 28,75

4. Not for Money, Not for Love, Nor for Heaven
De André has been periodically releasing an album a year for the past 5 years, steadily growing in a dizzying manner. Not for Money certainly represents another gesture of his cultivated maturity. It revisits Spoon River and adapts some characters to a modern context, like a perfectly preserved mummy. And what characters: the madman who, to astonish his fellow citizens, memorizes a dictionary only to be committed, a short man who rises to the high office of judge, the blasphemer who is beaten to death for his ideas, the doctor who, in doing good, ends up conning everyone, the chemist who recognizes only the alchemy between elements and not between people, the heart patient who lives in dull emotions until his first kiss, so intense that it kills him, the optician who tries new lenses to show ordinary people different layers of reality. And in the end, there's him, the musician Jones, who forsakes his lands to play the flute (in Spoon River, he plays the violin) until the day of his departure; music is his calling throughout his life, preserving many memories within himself but leaving no room for a single regret. It’s so beautiful to see how all these characters speak of their own death as if it were simply falling to the ground, perhaps with a scrape, but as if it were nothing. As if their lives don’t really matter in the end, given that sooner or later they will all find themselves there, on the hill, with different destinies, different souls united by a single destination. It’s impossible to capture all the possible meanings this album holds in just one listen, and even today it’s still impressive to see how Not for Money raises many questions about one’s existence and its emptiness, about the fact that it must end sooner or later, and how it may appear like many others but is, in itself, unique.
Meticulous rating: 10 with honors (allowing myself to be swept away by emotions)
The gem among gems: Il suonatore Jones
Martello
Martello
14 feb 21

DeRank™: 31,29

5. Story of a Clerk
The political album par excellence, a small gem about '68 and the human revolution. The record can be defined as one of the most courageous and outspoken by Faber, laying bare his anarchic side through the story of a clerk who, finding himself in a crowd of rebellious youths, decides to carry out his small revolution in order to literally blow it up in Parliament. He is convinced by a series of dreams, where at first he finds himself at a masked ball populated by well-known characters whom he blows up with a bomb. Subsequently, he finds himself in court, where he is declared not only innocent but also a bearer of power, taking the place left by his father who died during the masked ball. But soon the dream turns into a nightmare and the clerk, addressing the judge who has judged him, tells him that as soon as he wakes up he will meet him again in real life. Then he sets about building a bomb to throw at Parliament, but his plan miserably fails and ends up destroying a newsstand. And after a touching prayer to his wife not to sell their love to journalists, the clerk ends up in prison. There, he comes to a conclusion: revolutions cannot be carried out in solitude but need many people to work together for a common purpose. A brilliant, fierce, and inspired 39-minute thread, surrounded by musical bases that are singer-songwriter-like but very mysterious and elegant, adding a touch of pathos to the entire work. Certainly one of Faber's best works, which attempts to break away significantly from his recent past.
Meticulous rating: 10
The gem among gems: Verranno a chiederti del nostro amore
Martello
Martello
14 feb 21

DeRank™: 14,33

Ho La Testa
Hi Erriquez. You've been the engine of great parties and an entry into the musical world. Turn the afterlife upside down with your energy!
Martello
Martello
13 feb 21

DeRank™: 38,55

6. Fabrizio De André (also known as L'indiano)
This is where Faber's 80s begin, a decade of great changes that our songwriter exploited both little and exceptionally well, having released only 2 albums in those 10 years. The first is this Fabrizio De André, known to all as L'indiano, released in 1981 in collaboration with Massimo Bubola, who had already worked on Rimini. The concept that permeates everything is perhaps one of the most interesting: the relationship between the Native Americans and the Sardinians, two persecuted peoples who have faced numerous difficulties throughout history. The opening track is entrusted to the bluesy Quello che non ho, where the materialism of daily life is no longer enough, where what we don't have doesn't interest us anymore. The A side then continues with a continuous interplay between America and Sardinia: we move from the mountains where a wild shepherd resides to the banks of the Sand Creek, just looted by colonizers, and finally let ourselves be carried away by the notes of the traditional Deus ti salvet Maria. On the other side, however, starting right at the beginning, there is a little miracle turned into a song: a love song, of suffering, of time passed, of difficulties and waiting. This is Hotel Supramonte, a recounting of the kidnapping that Faber and Dori Ghezzi experienced in '79, overcoming an event that was an emotional shock for both. And how Faber managed to embed that moment in such a sweet song is truly a rare gift. We stay a little longer in Sardinia to enjoy the story of Franziska, a girl with a bandit for a boyfriend who cannot be touched or looked at by anyone. This is followed by another love song, where banality has no place right from the title, Se ti tagliassero a pezzetti, a magical piece that is absolutely unmissable, and a quite bizarre closing track, a simil-reggae named Verdi pascoli, a decidedly cute experiment that wraps up the album nicely. Lyrically, Faber has nothing more to prove; he remains a unique voice in our singer-songwriter repertoire. What changes in this album is the music, which becomes richer, more varied, and less tied to singer-songwriter clichés. This is an excellent factor, effectively demonstrating that the musical insights from Rimini have been assimilated. But in the future, this factor will literally explode, yielding many fruits that we are still yet to fully reap.
Meticulous rating: 9.5
The gem among gems: Hotel Supramonte
Martello
Martello
12 feb 21

DeRank™: 22,84

7. The Clouds
After the colossal international experiment of ethnic music in the Genoese dialect with Creuza de ma, De André took many years for a new work. But the long wait was fully rewarded with the exceptional Le nuvole. An album where the experience from the previous album is blended into yet another concept album analyzing, on one side, the powerful and, on the other, the poor souls who perpetually live in the shadow of these figures. The record, however, opens in a very particular way, with the title track: a monologue recited by two ladies (one younger and one older) where the continuous movement of the clouds is described in a very poetic manner. After such a load of pathos, we move on to an interesting Ottocento, which, if we may say, encapsulates the meaning of the entire album, a very famous Don Raffaè (written with Ivano Fossati, who also contributes in A çimma), and a dystopian and heart-wrenching La domenica delle salme, where the moral and political decay of Italy is rendered with totally disillusioned clarity. The second side tackles lighter themes: everyday life stories of a hypochondriac man (Megù megùn), a cook who prepares a typical Genoese dish starting at dawn (the already mentioned A çimma), and a man who falls in love with a donkey (Monti di Imola, which for the joy of the de-sarder is sung entirely in Sardinian). Le nuvole once again testifies to De André's artistic growth, where he manages to find a balance between the experiments of Creuza de ma and his past production.
Meticulous rating: 9+
The gem among gems (with an attached stunning videoclip): Fabrizio De André - La domenica delle salme (Official Video)
Martello
Martello
10 feb 21

DeRank™: 4,30

Ingrandisci questa immagine
For weeks now, I’ve been receiving suspicious calls from Ivrea... this is my profile.
In case it’s that scoundrel @[Falloppio], first I’ll serve the cap, then I’ll arrive.
Martello
Martello
8 feb 21

DeRank™: 16,55

Max Gazzè - Il Timido Ubriaco
It's so nice to start listening to Gazzè again.
Martello
Martello
7 feb 21

DeRank™: 1,28

no title
Who is this conspiracy theorist?
Martello
Martello
6 feb 21

DeRank™: 21,02

PARAPAPARAPAPARAPA
PARAPAPARAPAPARAPAAAAAAAA
Welcome back debaserians, consenting, satanists, and tigers to the REVIEWS-LISTENS OF BROTHER MARTELLO
this time we risk it all
this time we will look at the albums of an artist who has never missed a beat
a colossal artist still praised today… De André. And here where we tread, it hurts so much. We will see together his albums from the slightly less beautiful to the absolute and undeniable masterpiece.
Give breath to the trumpets, because the last position will make many angry:
13. Volume 3
Yes, even though this album is a milestone in every way, it is at the lowest point of this ranking. Practically a series of great classics of singer-songwriter music, from Marinella to La guerra di Piero, from Michè to Testamento, also passing through Amore che vieni amore che vai. So what's the problem with an album considered perfect by many? The unreleased tracks. Of course, aside from Il gorilla, a translation of one of the cornerstones of Brassens, and S'i fossi foco, the rest of the unreleased tracks don't stand out excessively. Nell'acqua della chiara fontana and Il re fa rullare i tamburi reveal that the bond between De André and French Chanson is gradually weakening; in fact, from La buona novella onwards, De André will almost completely abandon this vein. But despite this small flaw, the album flows smoothly like oil and is always pleasant to listen to.
Punctilious rating: 8 and a half
The gem among the gems: La guerra di Piero
Martello
Martello
6 feb 21

DeRank™: 13,52

Il bacio sulla bocca
Tomorrow we have a legal adult.
Martello
Martello
5 feb 21

DeRank™: 4,36

Disordine D'Aprile
Even Maximilian is a nice little bomb of disco pop and experimental, just complex enough not to seem too intricate and with a few daring moments to avoid being too frivolous.
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Rewards
week 44 - 2020
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