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Rating: Having reached the milestone of the 4th album in 9 years of honorable career, it is difficult to be surprised by a new work from Giorgio Canali. Once again, the slender former guitarist of CCCP and CSI, taking a break with PGR, releases a work in his name, accompanied by his personal band, the Rossofuoco, composed of drummer Luca Martelli, bassist Claude Saut, and second guitarist Marco Greco.
"Tutti Contro Tutti," as already mentioned, continues along the path excellently traced by its predecessors; if we really want to find a stylistic difference, it is mainly to be found in the predominantly mid-slow rhythms of the tracks, and in the lyrics, devoid of that overflowing verve dissacratory and satirical tone of songs like "No Pasaran," "Savonarola," or "Questa è una Canzone d'Amore," yet hard-hitting and incisive as always. Since the release of the previous "GiorgioCanali&Rossofuoco," three years ago, Canali has certainly found material for inspiration, amidst Vallettopoli, Calciopoli, and increasingly rampant trash TV, and all his disgust is brought forth in the shouted verses over the suitable backdrop of electric guitars in the 10 tracks of the album.
But before talking about these subjects, the blond singer presents a psychological introspection: the opener "Verità, la Verità" (dedicated to Federico Aldrovandi, an eighteen-year-old from Emilia who died a couple of years ago under unclear circumstances after being stopped by police) and the closing track "Il Ballo della Tosse" focus more on the anger that invigorates Canali's body. If in the first track the singer is doubtful about his anger ("and I don't know if inside/ I have all the anger that I feel/ [...] I don't know if it's innate anger/ or anger inherited/ if it's anger with a reason/ or dictated by feeling guilty /[...]or if I am making an illness of it"), in the last track he seems to have understood well where it comes from and how to use it to the best ("yes, I know, from 1 to 100/ it's one hundred thousand the anger I have inside and when then/ I spit it out/ it's cannon anger not flower anger/ it's not just any anger/ it's not militant/ you wanted to change and nothing changes").
The other tracks address the typical themes that Canali has always stood for: "Alealè," translation of "Coule la Vie," present in the French-sung first album dated 1998, perhaps presents the most incisive text of the lot, this time against racism and xenophobia, as demonstrated by the verses "And so it happens that/ the future freedom/ is a blowjob on TV/ uncensored/ it's stations and parks free/ from Albanians, Arabs, or similar"; a real cover (also featuring guest appearance, on the harmonica, by Bugo) is "Settembre, Aspettando," adaptation of "Septembre, en Attendant" by friends Noir Désir, written 11 years ago against the war in Yugoslavia but still relevant today. Two bitter ballads, which have the task of musically lightening the album, are "Falso Bolero" and "Non Dormi": while the first deals with the cultural decay of our country, where Canali hopes for the arrival of "a wind of fire" to sweep away all the filth that surrounds us, the second talks about being believers in Italy, which for some translates into relying on the transcendent out of laziness or conformism. The more irreverent Canali returns in "Piccoli Mostri Crescono" and in "Canzone della Tolleranza e dell'Amore Universale" (which speaks exactly of the opposite), from the anthemic chorus "Tutti contro tutti, nessuno escluso, tutti contro tutti, a calci sul muso, tutti contro tutti, caccia all'intruso, tutticontrotutticontrotutti...per uno".
Another excellent album therefore, slightly inferior to the previous one, but with the times being what they are you should not miss out on works like these, a true godsend for today's asphyxiated musical landscape.
RATING = 7.5
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