Giorgio Canali
Che Fine Ha Fatto Lazlotòz

THE REVIEW

From Predappio, a pilgrimage site for many nostalgic of the fascist period, ironically comes Giorgio Canali. An artist who carries within himself a deep, multifaceted political-musical identity.

The Vietnamese red star, which has always adorned his guitar, reappears (in his first solo work) in the words and title of perhaps the most representative track of the album: "1.2.3.1000 Vietnam". A rock assault of guitars, blended with an acidic and hysterical saxophone, culminating with Bertrand Cantat of Noir Désir shouting "hasta siempre comandante".

The entrance, in reality, happens subtly, with "Nananà Nananà" gently introducing the listener into his new world. Here, as in many other moments, it is Canali's ironic tone that saves from the fog of thoughts that characterizes the entire work.

A bitter atmosphere, rich in historical, literary, and personal references of a person who is a citizen of Europe. Of a continent that is sick, wounded, and observed by Canali through the glass of the ever-full glass. An apparent haze that becomes expressive clarity and triggers continuous short circuits thanks to the images he manages to evoke amidst the sea of instruments.

The game doesn't always fully succeed, and some passages still prove a bit too heavy to digest (see "100.000" or "Va Tutto Bene", still unsettling and with their own value), but more often the recipe works.

In this sense, it is impossible to pretend that "Nuvole e Blériot" doesn't exist, his first ballad, the mother of all those to come. As well as the succinct final duo, a perfect compendium of his future compositions: "Laslotòz", irreverent punk rock to inject into the veins, and "Ça Y Est", a basic and bitter semi-acoustic ballad in perfect Canali style.

Musical trajectories that can initially leave one disoriented but that perfectly capture the style of an artist already ready to wound our hearts.