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Rating: Hats off to this Italian group, already with 3 noteworthy works, presenting this "L'irréparable" as confirmation of a consistent and rising artistic path. The writing and composition of the pieces have improved, and while exploring not so different territories, it strongly underscores the group's trademark that makes minimalism, guitar intertwining, and the ability to manage samplers and sounds within the pieces their fundamental characteristic.
It opens with "Fly falling in Love" with prominent electronic drums and a harmonic, delicate arpeggio giving the album its imprint. With "Elvis a pezzi" the band unpacks a nice mix of echoes and harmonies to rival Robert Fripp, followed by "Estasi di un delitto", almost a soundtrack of an imaginary movie with few instruments seasoning the spaces between the musical interstices. With "Una calibro 9 per Toni Rodriguez" we return to rarefied atmospheres and Fripp-like intertwining, with a sober and elegant guitar weaving delicate patterns throughout the piece. With the track "Un Anno D'Amore" (by Mogol, Testa, Ferrer), we reach, in my opinion, the first and perhaps only falter in tone of an album that, in my view, didn’t need the leading track, the famous "45 rpm"... an album like this was better imagined as a "confined" instrumental concept album, less associated with the promotional logic of products of another nature. "La Gang del pensiero" arrives and returns to past glories with guitars, bass, and drum machine playing in delicate yet delightful phrasing. "I seguaci di Gloria Garcia" plays on more lo-fi registers with the bass prominently featured for exactly one minute of duration. With the following "Dopolavoro Dancing", we reach more dreamy and perhaps slightly maudlin atmospheres, somewhat "Santo & Johnny" (anyone remembers them), somewhat "Ludovico Einaudi", in short, nothing particularly thrilling. "Cactus in the eye" returns to the themes of deconstructing the song form, introducing a light piano to counterpoint an ethereal and intangible guitar. With "L'Irréparable" we arrive, in my view, at the true masterpiece of the album: in an almost noir atmosphere, the theme vaguely reminiscent of Morricone unfolds a few hypnotic notes providing a sound backdrop to the French singing. A magical and hypnotic track that flies away lightly, raising the flag of this album: "L'autor de Notre" moves always in smoky and imperceptible landscapes where a bass, a brushed snare, and four guitar notes fill the track more than a thousand orchestras (a problem for many authors even locally who, go figure, at a certain point feel the need to always compare themselves with orchestras and mega productions, as if there were a relation between overall quality and number of musicians, oh well!). With "C'era una volta il post" the group bids farewell to the album in an "almost" lighthearted manner, giving us a proto-westcoast song played in their style.
An elegant and light, discreet and never intrusive album that one listens to with interest and curiosity, offering moments of carefreeness and class rarely heard around. Certainly, nothing indispensable but nonetheless valid and noteworthy. (Pity only that "partial misstep" of "Un Anno d'Amore" that fits as well as a square peg in a round hole...)
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By rob
L’Irréparable works perfectly even without the contribution of images because it creates them itself.
Once again shines with its own light.
