Litfiba
Trilogia 1983 - 1989 Live 2013

December 2012: it's a cold, dark evening, and the car radio is acting up. In the confusion of noises and interference, I catch a voice talking about a Litfiba reunion... but hadn't they already reunited before, with a subsequent tour, live shows, and new original pieces accompanied by yet another personal disappointment?

I return home, connect to the internet, and my heart skips a beat: the real Litfiba, with Aiazzi and the legendary Maroccolo, are back to perform the Trilogy pieces live!! Just a few days later, I buy a ticket for Alcatraz on January 31: the emotions in Milan flow over me and lead me to see them again in Borgomanero on another date. A few days ago, I purchased the CD to complete my feast of 80s new wave emotions, and what "Remains" in the heart and ears? Contrasting sensations: on the one hand, positive, strong, and exciting but also the impossibility of being what they once were, not only because Ringo is no longer there but because the men on stage, for better or worse, are not those of May 1987 at Tenax. Experiences change... Pelu is still the stage animal everyone knows, but he struggles to reproduce tones and vocal atmospheres that are no longer his: the more rock atmospheres ("Corri" and "La preda") keep him closer to the guttural and somewhat rough singer of "Terremoto" and "Spirito," proving more effective compared to songs like "Apapaia" and "Ballata," which lose some intensity and interpretative variety compared to the original interpretations. Renzulli is Renzulli: either you like his guitar and monotonous riffs, or you can't stand him for the same reason. Here, he does what he must with excellent balance, almost never overshadowing others' parts and without the urge to outshine other instruments. Aiazzi enriches the sonic fabric with his somewhat vintage sounds but absolutely suitable for the songs. Maroccolo is Maroccolo: a bassist who has influenced many musicians with his unmistakable style and who ennobles each song with his notes, demonstrating to represent the other soul of Litfiba, the less commercial and more independent one. Martelli is an excellent drummer and fits in with style and personality, replacing the challenging role of Ringo, a drummer who was not very technical but very personal in his drumming.

The CD's tracklist runs along the lines of a musical journey that touches unexpected points and places: "Transea," "Elettrica danza," and "Versante Est" boldly return to their beginnings because they are known by few and tied to the version of Pelu in his early days, imaginative and psychedelic. "Pierrot e la luna" is a gem, heartfelt and intensely performed by all. "Ferito," "Gira nel mio cerchio," "Cane," and "Re del mio silenzio" respect the originals and offer tight and metallic arrangements. Other classics strike me less ("Tex," for example), and instead of dispensable songs like "Il Vento," I would have preferred the gems of "Come un dio" or "Pioggia di Luce." "Ci sei solo tu" is good, a remarkable piece of "Litfiba 3," and for personal taste, I always find it a nice moment to listen to "Louisiana" because it's a naive but sincere song with its chorus sung in unison with the audience.

Did I like the album? Very much, and not only because it's a sound reminder of a unique and exciting concert but because it's a demonstration of what Pelu and company were and meant, standard-bearers of Italian independent music along with their contemporaries CCCP, not coincidentally the band that welcomed Maroccolo and Ringo after Litifiba's breakup before "El Diablo." I only have one great fear: that Litfiba, riding the wave of this tour's success, may want to get together and produce new compositions with the original lineup. They are not the same men as back then, and I don't think the songs and atmosphere would be the same memorable ones. Unfounded fears of an aging fan or perhaps just the simple desire not to ruin a story that's already closed?