Giovanni Lindo Ferretti
Co.Dex

The thread of experimentation has always been taut for twenty years. And on that thread, a man capable of always staying ahead of everyone.

This work by Giovanni Lindo Ferretti gives credit to his consistency as an innovative artist, which has allowed him to carry out the most important revolutions in the context of Italian alternative music.

What emerges on listening is a blend of fragmented sounds and avant-garde poetry, fused by a relentless carpet of electronic drums capable of replacing the old roars of Massimo Zamboni's guitar, which nonetheless returns at times in evocative citations of CCCP. In reality, one may come out confused, tossed around by the first listening, but one must trust the unquestionable poetic technique of the Emiliano artist, returned to the caustic sentences of the '80s, the phrases launched into the wave of sound with the same anger, anger that, however, fades into a sort of frenetic patience, of patient frenzy.

Because the monotonous chasing of sentences almost never gives way to a real scream; it is rather a scream choked in the throat that makes him confront once again the themes of war, the evils of the West, the strange metropolises that men have managed to design ("la civica città m'allergica" Barbaro).

It is an album in which the mixture of magic and melody typical of CSI seems to have temporarily disappeared, that peaceful and at the same time violent magma that had allowed the most important rock band of the '90s to effectively narrate the disasters of the Balkans and the poetry of Mongolia. On the other hand, the only survivor, Zamboni, has collaborated only on a few tracks of Ferretti's work, for which he has instead relied on commendable musicians like Bernocchi for the programming of electronic drums that have so influenced the album, becoming substance and not mere accompaniment; the Japanese Kondo on the trumpet is the author of very suggestive inserts in the unimaginable journey between Berlin, Rome, and Tokyo.

Berlin, Berlin again, like twenty-five years ago; back then, Ferretti and Zamboni were the inhabitants and observers of a futuristic city still occupied by old stories, the cradle of schizophrenia that was the basis of the very successful CCCP project.

And if the unsettling panorama suggested Live in Punkow, Militanz and other irreverent ballads, closer to Central European punk than to the original English one, today, on the brink of the technological apocalypse, Berlin unleashes the expressive force of an artist who has decided for his entire life to ride the rogue wave.