Giovanni Truppi
Poesia E Civiltà

Strange character and strange discovery (for me) Giovanni Truppi.

Dr. Jekyll, Mr. Hide.

Two albums (the second and the third) completely crazy, raw, full of ideas, two "cazzoni" albums with deep spaces of Manichean philosophical meditations, balanced between Gaber, the early Bennato (Edoardo), Rino Gaetano, the early Vasco Rossi, Baccini, certain Capossela. Beautiful, in their own way, both of them.

The fourth refined, polished, political, an old-time album, balanced between De Andre' (Bubola era), Tenco, Battiato, Baustelle and... Morgan.

Before and after the high, before and after the major, someone would say.

Truppi does not seek the sensational in “Poesia e civiltà”. He sits and reflects.

The theme of the album is well represented by the green filter through which the forest is photographed on the cover (in which Truppi's silhouette is barely noticeable), the necessity and the desire to follow nature, and the human nature that is a part of it, eliminating the superfluous, the economic element and culture (in a philosophical sense) of which the digital world is considered the emblem, confronting it.

Untangling oneself in the wood of one's insecurities and fears to come out better.

But not in solitude.

For that forest is often nothing more, transfigured by the years, than the same Garden of Eden where more or less all of us lived the best years of our lives, those of childhood, when we could do the same cazzate we do today with the only difference that now people take them more seriously and back then there was always someone to stop you ("Mia").

The "landscape" descriptions, splendid, of other people compared with that of a loved one ("Quando ridi")

Songs that seem like anthropological treaties ("L'unica oltre l'amore"), theological ("Adamo") and sociological, and a sociological treatise at least in one case a song truly is ("Ancient society").

From a musical point of view, he is an excellent pianist, the piano often in the foreground, instrumental codas with arpeggios of almost-prog flavor (the already mentioned "L'unica oltre l'amore").

Classic 60s/70s singer-songwriter style, with a certain compositional and instrumental refinement (not too much originality).

An album to listen to while reflecting and appreciating every minute detail, of words or music.

Otherwise, at the risk of considering it a tedious, mediocre and absolutely forgettable album, and if one were to reach this conclusion it would really be a shame.