La Crus
Dietro la curva del cuore

The artistic production of La Crus has a well-defined evolution.
It starts with the almost entirely acoustic debut of the first album (self-titled) up to the electronic developments of recent times.
It seems that the romantic and melancholic inspiration of Ermanno Giovanardi (formerly of Carnival of Fools) increasingly blends with the modern sounds of Cesare Malfatti's machines (Dining Rooms).
In the early records, the duo proposed sophisticated and genuine singer-songwriter music, but over time, the infatuation with technological sounds seems to have taken over.

This alchemy has produced albums of varying depth, not without some stylistic slip-ups, but I believe that "Dietro la curva del cuore" is the most representative album of the group. I don't call it the most beautiful, since I am particularly fond of the first two, but certainly the different musical instances in this work blend and balance masterfully.
The production, entrusted to Manuel Agnelli, skillfully mixes analog and digital, poetry and noise, acoustic guitars, and samples.

In "Anche tu come me," Carmen Consoli makes her appearance, but her contribution doesn't make a mark, despite the undeniable beauty of the piece.

Great credit goes to the writing, which is clear, inspired, never trivial, and to Giò's interpretation, with a warm and persuasive voice that closely recalls Brel, Tenco, and many other masters of singer-songwriter music, who indeed are true "ghost" guests of the album.