La crus
Proteggimi da ciò che voglio

It must be acknowledged that La Crus have achieved a successful compromise between the classic and the modern that has characterized them since their first release.
They have revived a certain crooner style typical of Italian singer-songwriter music, offering their listeners solutions that at the time allowed them to stand contemporaneously. The samples, the electronics expanded in full Trip Hop fever.
And then Mauro Ermanno Giovanardi with his beloved sixties, which he continually quotes and sings between his solo career and collaborations.

In Proteggimi da ciò che voglio, the same process occurs. The band coins the term polietica to describe the new lyrics; the intention is to pair the committed song with a sound that, many might have noticed, aligns with that of today's synth-pop bands (see the Depeche Mode of Where's The Revolution?) and at times there's the idea that the latter are indeed a significant source of inspiration.

In La Rivoluzione, they accompany Vasco Brondi and philosopher Slavoj Žižek. The other two presences in the tracklist consist of the appearances of Colapesce Dimartino in the reinterpretation of Come Ogni Volta and Carmen Consoli in Io Confesso. Was the inclusion of these two old (beautiful) songs appropriate for a discographic comeback? For me, it's the usual Italian penchant for featuring guests; the originals are important in the project's history, which I find redundant to revisit.

Mauro Ermanno Giovanardi and Cesare Malfatti give the tracks choruses full of reassuring melody, even within the more intense ones. Among all, the quasi-anti-capitalist slogan Mangia Dormi Lavora Ripeti, where at one point the question arises

"But how do you not collapse?"

And indeed, the central theme of the album is disillusionment. The stress of a life sacrificed to power, often
exhausting work, the daily life from which one carves out a space to confront and try to take stock.

It is quite existentialist and released at just the "right" time. La Crus do not pretend to be champions
of the obvious, but they try in their way to equally strike the dissatisfaction of a working class that
has not experienced any boom and the dissatisfaction of those losing pieces of themselves day by day amidst the dynamics of depression.

Longtime admirers will find an embrace among the pains of this album, especially in Shitstorm, Sono stato anch'io una stella, and Io non ho inventato la felicità.