Lucio Battisti
La sposa occidentale

Year 1990.

The last decade of the twentieth century presents a third Panellian album, following the decline in sales with the previous album "L'Apparenza", at least two years prior: this latter album represented a profound break in Battisti's and Italian music in general. In fact, if with "Don Giovanni", the 1986 album, we found as reference points the eccentricity of a particularly inspired Panella and a Battisti ready to revolutionize his musical career, although he had already succeeded with the experimentation of "E Già" - both artistically and commercially - in "L'Apparenza", the latter sets in motion the process of deconstructing the "commercial Battisti," the one of "Emozioni" and "Acqua Azzurra Acqua Chiara". It is no coincidence that "Don Giovanni" echoes a distant, very distant Battisti clashing with a declaration of stylistic-musical repudiation; described in the eponymous title track.

The Panellian Battisti has always been criticized for the difficult comprehension of the lyrics and possibly for the abundant use of electronics in the tracks presented. Yet some, if not many, characterize Lucio Battisti as a light music singer: well, even the Battisti of the early period managed to merge in his music, with an evidently more listenable approach, beat with R&B, folk with blues, disco with piano rock, soft rock with funk, rock 'n' roll with instrumental music, and prog rock with avant-garde music, sticking for a series of albums to a predominantly reverberian aspect, thus rich in symphonic arrangements. Then, unless certain listeners listen to Battisti as a pastime, without even delving into his figure, without going into details, then we can call them average listeners.

But I am not here to talk about what people think of Battisti, but rather about the artwork that beautifully opens the '90s, namely "La Sposa Occidentale". The album starts with the initial idea of a concept discussing the problems of a marital couple. Indeed, we can safely consider the album as a concept, just like all Panellian albums, except "Don Giovanni," which, in descriptive terms, seems a bit incomplete.
However, how to begin such an album? The album cover illustrates a painting depicting a marital roof with stylized chimney smoke. Such a painting would be upheld by an external figure, a metaphor for life and the sacrifices contained within it.
There are various dynamics: as if we were reading "Il Piacere" by D'Annunzio, we find ourselves in front of a present (apologies for the play on words) presented with flashbacks narrated with such attention and precision by a highly charged Panella. In my opinion, the artist and poet did well to have a biennial cadence for the albums to be produced: the proof that more time gives space to commitment and genius.
The protagonists are on the verge: this couple no longer loves each other for eight consecutive tracks, showing that they no longer sting each other - have no more sexual stimuli - fall prey to certain neglects that manifested during their relationship. One only has to recall the human and realistic verses "if a glass falls on its own / if a chair flies onto a shelf / then everything returns to normal": verses that howl likely episodes of domestic violence. Yet, in this turbulent climate, the couple realizes that by coming back together, they can "survive everything to fall in love," thus understanding one of the deeper meanings of life. The crudest natures of Her are exalted in the track "Timida Molto Audace", where the clothes of a physical appearance such as giggles she can't hold are discovered, which do not work and have an expiration of their own, seen as a victory in "Mi Riposa", where topics run out and she speaks unabandoned. A melancholy memory is reserved for "Potrebbe Essere Sera", one of the most catchy tracks of the album along with the title track: here the emotions of the girl in purple blush are compared to the colors of the evening, bright and shimmering, and such sweetness is found in "La Sposa Occidentale", one of the most important tracks of the entire Battisti repertoire. Here He speaks to Her in the sincerest way, admitting to doing the impossible to avoid marital catastrophes, although at the end of the track there is a reference to something temporary - "so perhaps, roses / are pangs, for now": what matters to the protagonist is admitting an "I tell you" precisely because it is easier said and, by promising infinitely, he risks harming both himself and his woman. Love is a pretext in the Western world to demonstrate a non-belonging to the true love sentiment and equal importance to the contract established at the time of the declaration to live and respect each other until death do them part. Panella describes all this in what is not a simple album, but a fundamental testament of late millennium Italian music, an underrated masterpiece that most of the time is ignored. [N.B.: It is so ignored that on Discogs, among the genres, it is attributed to letfield.] Battisti, as it should be, composes some of the most beautiful tracks of his repertoire: absolutely worth mentioning is the introduction, "Tu Non Ti Pungi Più", a searing punch that hits your stomach so hard it forces you to continue listening poorly, but also the seductive - already mentioned - "Timida Molto Audace" and the harrowing "I Ritorni", among the most heart-wrenching tracks of the artist. The arrangements, as always, make an impact: in the first track, there are remarkable choices in the synthesizers - played by John Young - that now invade the Battisti orchestra, which in this case is provided with a notable electronic drum played by Andy Duncan. In fact, its sparkling and sharp sound stands out, so much so as to be compared to the drum of "CSAR" - always played by Duncan - the latter more pressing and pompous. Finally the atmosphere... The atmosphere dominates in this album. What feelings arise? Carefreeness? Boredom? Melancholy? Sadness? Repudiation? Or all of them together?

A fabulous album, undoubtedly to listen to. An anthem to the most hidden feelings, to vital metaphors, but above all the destruction of the evidently highlighted Western concept of marriage.