Marracash
Roccia Music

Let's start the review by discussing the musical condition of the album. I'll be frank: great work. Don Joe and Deleterio manage to produce beats without lingering on the clichés of modern hip-hop and explore the realms of techno, electronic, and classical music… visits that showcase a Joe in top form, also bolstered by the honors he received shortly thereafter, and an inspired Del following the success of "Hashishinz Sound".

Don Joe's impressive evolution will benefit the realization of "Penna Capitale," the second album of Club Dogo, basically built on these new trends… but that's another story, as Pupo said. Applause also for the remaining FatFat Corfunk, who, despite being on an album entirely opposite to his usual style, creates a good beat for "Castigo," and for Shablo, one of the best producers around, who signs the much-requested "Sinfonia N. 7" and "Il Gioco". Also mentioning Bassi Maestro who signs the amusing remix of "Popolare" (Marracash), with a very funky and old-school sound symbolizing Busdizzy's continuous return to the roots of hip-hop.

"Roccia Music," as far as rap is concerned, is a typical album consisting of two sides. Let's start by analyzing the content side, which is perhaps the weak part of the product. Everyone knows (and appreciates, just to emphasize) the self-celebratory style that has characterized the group for some years: from "Mi Fist," which laid the foundations for this attitude, there has been a continuous evolution leading to writing about different yet connected themes. Life on the street, the ghetto, drugs… drugs. Here's the album's keyword. To use a parallel from Marracash, if Hendrix went down in history for dealing with LSD in his songs, Dogo will go down in history for dealing, in their lyrics, with cocaine. Entire songs dedicated to the new millennium drug, including a cover of "Ti Voglio Bene" by Tiziano Ferro, for the occasion "Le Voglio Piene" (the bags), and as many as three brilliant skits with guests such as Paolo Calissano, Lapo Elkan, and Kate Moss. Needless to explain the reasons behind these choices. Songs that, consequently, also turn out to be a bit monotonous and eventually become tiring, especially if performed using the term "bamba" a thousand times, now the password of Milan that hates, and moreover all in a record dedicated to the white for 3/4. Many stories of street life too, among which "You Know NA MI" rightfully enters, a track with Neapolitans Co'Sang, which we will talk about later.

Fortunately, there is also space for more introspective lyrics and, look at that, the most significant ones come from good Marra, who in "La Mia Prigione" and "Chiedi Alla Polvere" projects himself as one of the most interesting promises of the coming years, hoping he gets out of the coke scene.
Let's now talk about the stylistic side of Roccia, well, here one can only rejoice: if you are looking for absurd lyrical intricacies, unusual vocabulary, and refined metaphors, you are in the right album. Whether we like it or not, MCs such as Guè Pequeno or Fame are among the most evolved in terms of form, and there are very few rivals who can take the title from them. If Jake gives excellent performances ("Serpi"), however, Guè leaves no doubts: he is the man in the spotlight who tips the entire tricolor with the citations. Excellent also Marracash, while average Vincenzo Da Via Anfossi and Ted Bundy (from whom much is expected, hoping for improvement over time). Beyond the Dogo Gang, a rich array of artists: the already mentioned Co'Sang drop the bomb in "You Know NA MI", flagship track of the album, delivering excellent hard life verses over a psychedelic beat by Don Joe; Thug Team, acceptable on "Turn Around/Parati Le Spalle" though not incisive; Rischio, excellent the verse on "Sinfonia N° 7" which rightfully enters among the best lyrics of the album, while Gora's singing gets tedious; Inoki, who disappoints with the freestyle attitude of "Il Gioco"; Royal Mehdi, decent participation on "Roccia Music", certainly not exciting but not discardable either; nice verse by FatFat on "Castigo" while Misa gives a not exactly brilliant performance on "Regole". A nice collection of styles and ideas, basically.

"Roccia Music" is the typical album to pump in the car or when you want to organize a flashy night out. Certainly, it's a great result for Dogo who reconfirms themselves as a strong and solid crew. Please, however, disinfect M-I from the pushers, we would like to hear a possible "Roccia Music Vol. II" with other themes.