Litfiba
Eutopia

After almost five years since the release of the disappointing album “Grande Nazione,” Litfiba returns with Eutopia, the last chapter of the Trilogia dello Stato.
Perhaps because the bottom has already been reached or because the duo Pelù-Renzulli has found new inspirations, this album represents a significant improvement, albeit with some weak points. The message that runs through the entire album is not the polemic with similar-grillino language and frighteningly populist tone of the previous album. The cover and the photo book of the booklet, which depict dystopian scenarios from “1984,” reflect the pessimistic and polemic description of the world carried forward by the lyrics. “Dio del tuono,” “Santi di Periferia,” and “Gorilla go” lyrically still suffer from the aftereffects of “Grande Nazione,” being rather superficial and trivial, especially “Gorilla go,” which in my opinion is the worst track on the list. “Maria Coraggio,” in my view the best one, is inspired by the story of Lea Garofalo and points the finger at the hypocrisy and arrogance of people. “In nome di Dio” is instead a serious denunciation (finally, I would add, after those atrocities of “Anarcoide” and “Fiesta tosta”) against extremism and against American imperialism that appropriates the riches of those territories under the pretense of destroying them and exporting democracy. “In the name of God, the world is all mine” recites the lyrics that remind me a lot of “Africa.” “Straniero” is instead a social critique: the frenzy of our lives does not make us live well; interpersonal relationships that are increasingly cold and minimal make us feel more and more like “strangers at home.” “Intossicato” tells us about the power that wants us lobotomized and could have been a great piece if it had been better developed.
Despite all these things that don’t work, we must fight to change the world because “L’impossibile non c’è,” says Piero in the lead single. How this ideal world should be is explained to us in the title track “Eutopia.” To be able to think about the world of “Eutopia,” however, we need to go beyond selfishness and appearances. “Oltre” is, in fact, the ninth track on the list, and it is no coincidence that it was placed before “Eutopia.”
Musically the album is equally excellent. The guitar no longer limits itself to the granite and flashy riffs of “Grande Nazione” but unfolds in themes that vary depending on the message of the song, the drums finally make themselves heard with Luca Martelli, and the bass creates beautiful patterns. Very suggestive are the keyboards of Aiazzi and Simoncioni, especially in “Straniero,” “Eutopia,” and “L’impossibile.” Musically, the album is similar to “Spirito” for the musical and compositional diversity of the songs. “Maria Coraggio” has slightly gypsy atmospheres that remind “Lacio Drom,” while “Straniero” and “Eutopia” have a structure similar to that of “No frontiere” with ethereal atmospheres in the intro and conclusion.
We can confirm that inspiration has returned to Litfiba; whether it is the beginning of a new path or an isolated chapter, only the future will tell.
This is my first review, so I don't expect it to be a masterpiece; if you have advice for my next ones, it is very welcome.