Litfiba
Desaparecido

There is a time when every band has its moment of glory, or rather the moment when they give space to their musical creativity, achieving good results and thus creating works that become indelible milestones in the history of music. Back in 1985, a band that unfortunately lost its best pieces over the years, after releasing an EP and an album, "Eneide di Krypton," unjustly ended up forgotten, created "Desaparecido." An album that at first glance, compared to those big American rock monsters of those years, seems to add nothing special... but never judge a book (or record in this case) by its cover. Thanks to its atmospheres, which refer to the New Wave of those years mixed with a warm and decidedly dark rock, "Desaparecido" proves to be one of the best works in the band's repertoire, the spark of their career (one could say it's the true debut album, as "Eneide di Krypton" is more a work made for a theater company, thus an aside in their entire discography).

The eight songs composing the album are each more beautiful than the last, each with the power to make the listener travel and take them among the deserts of Africa, through eastern cities, and even to Mexico. The opening single is "Eroi Nel Vento," and no song was ever so perfect for opening a masterpiece: an explosion of energy, with a lyrics that deals with the theme of wars, dark rock sounds almost akin to the Cure and a hypnotic guitar riff by Ghigo Renzulli, it's one of the best not only of the album but also of the band's entire discography. In "La Preda," the instruments chase each other, creating the most rock piece of the album; the organ of the keyboard is very well-suited within the track, transforming it into an almost classic piece. Then with "Lulù E Marlene," I'm enveloped by the sands of the Sahara desert, lost among the dunes, with the sun in my face. This is what I imagine listening to this classic by Litfiba, one of the darkest songs on the album, where vocalist Piero Pelù enchants with his warm and deep vocal timbre. The keyboard intertwining with the guitar in an elegant and efficient manner is beautiful in this song. A strong wind sweeps me away and takes me to Turkey with the enchanting "Istanbul." It's a gem, the best of the album, where everyone gives their best: bassist Gianni Maroccolo, whom I consider the true soul of Litfiba, performs a formidable bass line, which gives the song a rhythm similar to a slow gallop, and it's his strong point.

With "Tziganata," I see myself surrounded by gypsies and voodoo around a bonfire: the rhythm of the song is compelling from the first to the last note, and here pianist Antonio Aiazzi, very well-loved in the Italian new wave scene, creates a fantastic and catchy sound with his keyboard, which in his hands seems to come to life. "Pioggia Di Luce" is the one that caught my interest the least, but despite everything, even this has many strong points: one of the most complex lyrics of the album (along with Lulù e Marlene), sublime and dreamy sound, which takes me to the heart of the best New Wave of those years, with a beautiful and refined final guitar solo that many think is by Ghigo, while it is actually by a little-known guitarist and composer named Hanno Rinne. The initial scream of "Desaparecido" takes me to the wild Mexico surrounded by dancing Indians, with an absolutely engaging and energetic flamenco rhythm, one of the high points of the record regarding experiments. The listening of the album flows quickly, and here we are already (unfortunately) at the final song, which is "Guerra."

One of the old experiments of the band that was then included in this album completely remixed. The organ introduction, a war drum, and marching soldiers connect with a genuine, pure, very dark and compelling new wave sound, which aims to leave an epic mark on the album, succeeding. The first work of the "trilogy of power" (followed by the exceptional "17 Re" and the more than good "3"), it is certainly the most beautiful and complete work of the band, with the original lineup and absolutely the best. One of the few rock bands in the past that contributed to expanding the term "Rock" in our country, along with a few other important ones (I cite for example "Banca Del Mutuo Soccorso", "CCCP", "PFM", "Le Orme" and so on). It's a pity that following the death of drummer Ringo De Palma (I apologize for not talking about him in the tracklist, and his sharp, cutting drum touch, which gave the band an even darker and warmer sound) and the departure of Maroccolo, another big loss, the remaining members never again created works comparable to this or the two subsequent ones.