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Good evening Db.
I will make the bold choice of reviving an old acquaintance of the national minor Pop (never really danceable, to be honest), Gatto Panceri.
Prolific and intense like very few, Gatto narrates with a seductive and passionate voice a credible snapshot of feelings and social trends in version 3.0, with the class and genuineness that only someone who has suffered and understands the value of every single note that becomes pain, joy, emotion, can convey.
Let's talk about this latest 2018 series of more or less unreleased tracks, Pelle d'Oca..e lividi: it starts right away with the title track, a soft rock manifesto displayed on a wall, narrating the sad reality of these modern times, which only the beauty of a sincere heart and the warmth of a freely offered caress can resist. But it's especially in titles such as Ero Polvere, Aumenterà, Sublime, 1 euro in un bicchiere that Panceri reveals traits of sensitive and profound emotional creativity, in a perfect fitting game between a singer who surprises and strikes at the first listen with the epidermic variety of colors and scales he reveals.
Gian Luigi Maria Panceri has become over the years a great performer as well as a songwriter, one of the few of the historical generation to renew himself by combining past and present, styles of yesterday and today, taking the best and the good from each, making them crucibles of musical wisdom, with sporadic missteps. In the album, there are also more carefree moments like Peter Pan Ceri, S.T.R.O.N.Z.O., and Bombay, Tu Mai, where the music becomes lighter but substantially immediate, and the great agreements take on more colorful narrative tones but are equally convincing (except the second of the 4, conceptually a bit banal).
Anomalous, precious, almost ambient, and not sunny at all, is AL SOLE, while neither here nor there is the melodic Pensa a Vivere.
The absolute masterpiece of this album is "IO HO," an infallible ice charge that can very well heal from the fever of appearing omnipotent and know-it-all, especially in the virtual world, from which one should always escape; however, also Potesse Parlare is a song that stands sovereign like an unreachable peak in the Olympus of those tracks that move endlessly with each new listen, as if it were the first time. Finally, alas, a dual underlying mystery still languishes: not purely that of "who and when introduced the eutectic plates (syn. ice charges) on the peninsula," but the one arising from the Fasano-Gatto duet in Il giorno che la musica finì and the self-cover of In qualunque posto Fuori o Dentro di Te in 'smooth soul' style. Could they be snippets of storytelling never fully published on vinyl or CD?...the fact is that 5-6 extracts from this P.O.E.L. would be enough to literally crap on the umpteenth singers sold to the easy business and those hordes of self-tuned dolls and digital mannequins that regularly clog any stereo system. Hcereb greets you here.
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