Marcello Parrilli
Elogio Alla Diversità

In his second long-duration attempt, Marcello Parrilli performs another important check-up. A serious production and the push that was missing in the previous work accompany this "Praise to Diversity," which intrinsically in the title distances itself from the previous work without denying its origins.

We find a definitive maturity in the electronic-styled tracks like PICCOLO AMORE (the only thing that makes us frown is the title) where the synth parts create a backdrop sustained by an always '80s rhythm section as Parrilli has accustomed us to, but where the voice no longer winks at the neomelodic style so dear to the songwriter from Pontassieve and instead finds room for a vocal freedom and elaborations that well convey the artistic content of this package. The voice also delivers the punch that was missing in the curriculum of this Tuscan artist in tracks like GLI SPAZI INFINITI DI AMLETO or UNA STAGIONE ALL'INFERNO where the guitars (also very '80s) have the fullness we were hoping for, especially the acoustics, and here the hand of LUIGI CHELLI from NIGHT MUSIC STUDIO makes a noticeable impact and contributes to the substantial difference from Parrilli's previous productions. Still speaking of guitars, note should be given to the collaborations and especially to that with NICCOLO TONARELLI, a historic companion in Parrilli's musical productions, which we particularly appreciate for the apt interventions stylistically blended with the rest of the production.

Now let's come to the sore points. All can be summarized as a plea in favor of a supporting band and avoiding the do-it-yourself style. Starting with the strings in IL VAGABONDO and concluding with all the drum and bass parts which are unfortunately excessively generic and less refined compared to the rest of the product, but we have confidence in PARRILLI and know that he is working on it (we hope). However, we cannot ignore tracks of the caliber of ANIMA ELETTRONICA and NOTTE DI SAN LORENZO where the true POP soul of the Tuscan singer-songwriter emerges (although even here the string sections leave us a bit 3/4). In conclusion, we can say that finally there is a product that stands on its own, not to everyone's taste for sure, but which positions itself well in the Italian landscape of the genre and that we might hear more often than expected.

Gianfranco Scuotri.