Elisa
Lotus

THE REVIEW

Twiilight Effect (dusk)

At a certain point while listening to this semi-anthological collection, I remembered a beautiful monographic insight on Fabrizio de André ("Raccontando De André" RAI 1): interviewed about the great Genoese singer-songwriter, his colleague Franco Battiato keenly noted how, upon listening to one of the early records (when "the distribution was practically underground") despite tackling extremely harsh and controversial themes and in the sadness at times desperate and disheartening in the stories he told, "I was struck by his voice because it was at the same time infinitely comforting".

I mention this because, repeatedly listening to this "Lotus", a parallelism suddenly grabbed my attention, seemingly very distant, surely debatable, but which I feel is very strong at a visceral level: Elisa Toffoli has, in her singing style, in her voice, in these songs so pliable, sweet now submissive and now resolute and firm, almost a caress, almost something maternal, the same consoling power that (not coincidentally) stands out the most right there where the themes are sadder and more melancholy, the music more subdued and contemplative, it stands out with the utmost clarity almost an unexpected quality brought to light in this meditative work, brushed on pianistic and electro-acoustic sounds, and also reveals what could be the most authentic potential that this splendid interpreter from Monfalcone holds in a way anything but unconscious. A personality anything but fragile, an artist with unquestionable versatility, capable of transitioning from the power of the most classic American rock/pop ("Cure Me", "Heaven Of Hell") to the more traditional pop of "Stay" to more experimental endeavors ("Luce - Tramonti a Nord Est") to the inevitable confrontation with the Italian pop-song ("Un Senso di Te"). If Elisa manages to be credible in all she musically expresses, between piano bars and rock event stages, if she manages to remain coherent through the variety of styles and genres she traverses, it's not just because of her singing: it's because here lies the personality of an artist who "knows her stuff". This, moreover, is where (I seem to grasp) the sense of comparison to Bjork resides.

The substantial work, is structured in three types of performances: covers (three on the album, two more on the lead single "Broken", a total of five), reinterpretations of (eight) previous songs in an "unplugged" style, and (six) unreleased tracks. The covers of Leonard Cohen's "Hallelujah" (in homage to Jeff Buckley), and "Femme Fatale" by Velvet Underground - Nico, included in the album are practically impeccable, and they set the emotional tone of the entire work: a self-reflective, calm and autumnal record. Among the new tracks, besides the mentioned "Broken" (an electro-acoustic ride), "Interlude" (one of the most beautiful lyrics) and "A Prayer" (the same lyrical level, which closes the circle opened with Cohen's gratitude), "Electricity" (beautiful) especially, "Yashal" (impossible not to be moved by such a poetic level, one of the absolute gems of the collection) and "Beautiful Night" (ambient and in line with the previous ones). Among the reinterpretations, instead not everything convinces: above all "Luce (Tramonti a Nord-Est)", slowed down and pianistic, is the best. Returning to the covers, "Almeno Tu Nell'Universo" by Mia Martini raises some perplexities, due to the palpable distance from the original (Elisa does not reach the vocal power levels of Mia Martini, but she dodges the most difficult passages with personal vocalizations), while it's regrettable that the other two covers "(Sittin' on) The Dock Of The Bay" by Steve Copper and Otis Redding and "Redemption Song" by Bob Marley lack the latter (indescribable, at the piano live on May 1st it was an enchanting moment).

I don't know if it will achieve an amalgam of all components, nor if this is possible (intimacy, vocal flexibility, and expressive strength, piano, rock, experimental arrangements, occasional casual encounters with electronics), but (I say again, without caring about the possible irritation much) the problem is always the same and it's called "Caterina Caselli - Sugar Records": that is the limit beyond which one cannot go, "indie" production with the dimensions (and weight) of a Major. The thesis I have already stated is that after Lucio Battisti (the link between the Beatles and the Italian Song), and Mia Martini ("the new Edith Piaf from the land of the sun" said the French enthusiastically, "the new Orietta Berti" for Italians... who else define "Orietta Brecht" Antonella Ruggiero...), comes Elisa Toffoli (impossible to include Mina in this line, she cannot be compared to any other performer, neither pop nor operatic). The perfect meeting point between Pop and quality, that is to say, large-scale audiences and talent actually showcased, with a touch of experimentalism, all with perfectionism that leaves almost nothing to chance.

My impression is that the rock-pop-folk-singer from Venezia Giulia could really do more if she had greater freedom of action. Unfortunately, the intrusiveness of a shortsighted production, heavily unidirectional marketing policies, and impermeable and locked distribution channels, will not be helpful: if those operating in the field have succeeded (it must be recognized) in the "miracle" of discovering and giving voice to such talent, in their limited outlook they reveal all the provincialism of the conception that "Made in Italy" music too often has of itself.