Marco Parente
Testa, Di' Cuore

THE REVIEW

A dream/nightmare cover that seems a spoiler, more than ten years before the film, about a scene from Inception.

Buildings piled up, one on top of the other, almost fighting for a front-row seat to the spectacle of a man crossing the street.

Almost an inversion of perspective.

No longer a group of human beings crowding to witness the last moments of life and the demolition of an old building or an old power station.

On the cover, buildings, as there are billions around the world, enduring symbols of human dominance over planet Earth, watching a solitary man cross the street of any city in the Western world.

Man of the end of the century, who knows where he started from.

Fleeing the presumed myth of God and, alone on the street, ending up in the myth of the Ego, destined to collide with himself and his instinct for self-preservation.

Cryptic texts to provide a hallucinatory and unsettling vision of a humanity unconsciously desperate.

Prey to and deceived by false movements of history.

Egocentric and ultra-rational.

But at the end of the journey, however, when all is lost, without looking back, the awareness of a wonderful decline and a hope for redemption dictated by the heart and a borderless human brotherhood.

A bit of rhetoric in the lyrics, and a lot of refined compositional and executive fantasy in the music.

Tropicalism and sounds from favelas, pop experimentation.

Trembling strings knots in the throat.

Welcome to the machine and Radiohead.

Ghost of Tim Buckley in the finale.

In the end, one of the most beautiful records of the end of the century that was.