Jolaurlo
D'istanti

Perhaps in their debut album, "D’istanti," the Jolaurlo paid a bit too much attention to politics and too little to music? Not that the guys play badly, but musically the original and truly interesting elements are few (take, for example, some ska-punk nuances that are decidedly out of place), and the structure of most of the songs is disarmingly repetitive (verse - bridge - chorus - verse - bridge - chorus - solo/interlude - chorus). The voice of the frontwoman, M. Stano, seems monotonous, standardized, and quickly tiring, except for a few exceptions like "Distante," which very much recalls the electronic and crepuscular echoes of Subsonica, undoubtedly the best track on the album, and "Disconnection" (and here we question the deep meaning of the verse "I want sucker… I want fucker…"), a social center anthem à la 99 Posse, but without Meg's talent or Zulù's flow.
The more light-hearted tracks ("Lasciami," "Ansiolitic," "Naif") are also the most insignificant and slip by unnoticed, while "Teatro di burattini" has the usual pretense of painting Cav. Silvio B. as the Absolute Evil and sounds overly biased.

The album closes with a ghost track, which is nothing more than a variation on the theme of "Distante," and from here one could reflect on the band's lack of compositional verve, which is mirrored in the sparse nine tracks of the album, for the series "few but NOT good."
Ultimately, the Jolaurlo seem to confirm that in rock, the political message might as well remain on a subliminal or metaphorical level. Then, the commitment expressed through actions is another matter entirely.