Fabrizio Moro
Via delle Girandole 10

THE REVIEW

The impetuousness and anger of the past haven't disappeared; they've just changed shape and adapted to the passage of time and its changes. Fabrizio is still indignant but has a more mature and critical perspective; he plays for himself and enjoys it, if you will, and all of this resembles much more a creative evolution than a post-adulthood breakdown.
The fundamental communicative urgency remains, a distinctive trait of all Fabrizio Moro's production, which characterizes the structure of each song, always bringing with it a message that can be agreeable or not, depending on the case, but is always clear, vivid, and evident: “…if I take a side, I am indeed taking a side…” recites the refrain of Una sola parte, a song already performed live in recent concerts, here revisited and arranged in a '70s western style.

Via delle Girandole 10 is a very personal album both for the choice of content and the way it is treated, at times confidential, probably autobiographical but more than anything true and sincere; you will feel like you know them all, and there are many, the characters of this small neorealistic glimpse: it will be easy to recognize many fathers that will resemble Buongiorno Papà even if he doesn't have an “Alfa Romeo” or “...oil-stained hands from a workshop...” like the man in the track that opens the album; or you might think of any “Alessandra” encountered in any summer and be sure that yes, she will undoubtedly have become more beautiful (Alessandra sarà sempre più bella).
Talking about maturity is reductive: listen to Il vecchio, L’illusione or even Acqua, the first single released, to understand the meticulous work done on the metrics, introspective and universal at the same time, which detach from the CD booklet to associate directly with your own experience, and this occurs both in up-tempo tracks and, more easily, in ballads.

Musically, there's inside all that mixture of melody, rock, and folk that distinguishes the historical production of the great Italian songwriters, which today lives again with great dignity in Moro's modern and popular language, not only as a “singer from the suburbs” but as a promoter of his “contaminated” style that over the years has become increasingly recognizable and interesting.