LP (Laura Pergolizzi)
Churches

I approached Laura Pergolizzi with all the caution due to my musical obsessions, like a certain distrust for voices that don't instantly captivate me and a lack of faith in American pop music products. Being an orphan of Winehouse, waiting for years for an epiphany that never came (Adele's fans can knock on the complaints office), skepticism mixed with hope has always characterized my evaluations of these anglophone songwriters. But talent is an irresistible attractor, and although this tiny artist is neither a soul nor an R&B singer, my highly questionable cautions have fallen away.

Churches is LP's sixth release of original songs, after a career that began writing for other artists and then progressed with solely solo experiences. This proves that there are still those in the artistic field who start from the bottom, as we nostalgic music lovers would wish for everyone. It is essential to immediately define the scope of this brief analysis. The album presents Pergolizzi for who she is, for those who already know her. There are no substantial new developments, neither in her writing nor in her performances; rather, all the characteristics of her well-defined style are present. Therefore, you will hear her most heart-wrenching notes, the cartoon-like voice, the whistles, the angelic choirs, the western stride. I would be inclined to suggest that it might be difficult to get into the mood of the album, given LP's unique personality, but to avoid misunderstandings, she is always so immersed in what she sings that she engages the listener, regardless of the ability to understand or share the lyrics.

The four singles that preceded the album we have already heard in recent months on our radios, where perhaps due to evident origins, she finds ample space, contrary to what happens in her homeland where she has never truly broken through. All good tracks, especially the latest Goodbye, which stands out for its compositional freshness. Four previews spread over a year would lead one to believe the album capable of offering at most a few other good songs and then all fillers. Instead, what stands out after a few listens is LP's extraordinary melodic streak, which includes fifteen tracks practically without fillers and with a couple of absolute gems for her repertoire. My Body in the hands of more renowned artists would have everything needed to be a new Rolling Into Deep... and here I deliberately rub it in; it's a soul piece that seems as if it came from the Motown school, an example of undeniable skill, sung with great intensity. Angels, although it is not exactly the genre I like to hear her sing, is a great track, pointed out by herself as her most successful of the album.

However, there are some sore points, like the one that comes to mind when listening to pop records of the past few years, which is a lack of originality. We forgive our Laura for having "borrowed," no less than from our Francesco Di Bella, the intro of Yes, lowering it a few tones. But one must also acknowledge that originality in pop is becoming increasingly rare, and often composition results in original reworkings of things already heard. There is also an interpretative flaw in LP that gives the listener, at the end of the album, the distinct feeling of having heard too many shouts. Perhaps reining in the restless nature could benefit her vocal qualities. The two beautiful and mystical final songs are not enough to appease the strong sound vibrations that LP imposes on us: Churches, more intimate than ever, and Poem, a brief instrumental and spoken closure.

I doubt LP will ever become a star. She is no longer young, not particularly attractive (forgive the euphemism), and does not seem particularly supported by a record label and the music industry. However, there are few authors and performers like her around, in these times still rich in plastic products. Therefore, she has all my respect and especially my willingness to listen, which I consider a gift that each of us gives to those who produce music in all its forms.