Massimo Zamboni
Sorella Sconfitta

A guitar slowly shatters, gently breaking the silence, then begins to play with it, calls it back and pushes it away. The game lasts only the space of a minute, perhaps a little more. Then comes a beautiful female voice and starts singing: "Grazie Sorella Sconfitta / Mi hai dato gli occhi e tre piaghe nel cuore / E nessun filo per poterle cucire / E il coraggio per poterle cantare..."
That's how “Sorella Sconfitta” (Radiofandango 2004), the first solo album by Massimo Zamboni, begins. It's a fragile start, yet intense, full of emotion and striking both for the music and for Lalli's superb voice, as well as the words used. To define defeat as a sister, to thank her, is at least a strange vision in this world that does not accept losers. It strikes and surprises.
But why be surprised after all? It’s almost natural to expect something out of the ordinary from someone like Massimo Zamboni. Yes, because Zamboni is not just a performer, a musician, also important in the Italian rock scene, having animated for years together with Giovanni Lindo Ferretti the CCCP and then the CSI. He's also a writer. In recent years, in fact, he has written two books: first the travel diary - the inspiration for Tabula Rasa Elettrificata - “In Mongolia in retromarcia”, then the novel “Emilia parabolica”. Not content, he also devoted himself to composing soundtracks. He is, ultimately, an interesting figure. A certainly multifaceted artist.
Equally worthy of interest is this his first solo album, in which he is accompanied by some of the most beautiful Italian female voices: Nada, Lalli, and Fiamma. To these is added the soprano Marina Parente, with whom Zamboni is able to create and experiment with some curious and very interesting combinations between rock and classical music (“Ultimo Volo America” and “Dolorama”).

Thirteen beautiful songs that alternate dark atmospheres, claustrophobic sounds (“Da Solo”) with sudden bursts (“Su Di Giri”), up to explosions of hope (“Schiava dell’aria”). Thirteen beautiful songs that glide one after the other with pleasure, inviting the listener to linger over the lyrics. Songs that demand reflection, that are not made to be quickly consumed.
Additionally, a real gem: “Miccia prende fuoco”. It is certainly the most beautiful, most fascinating track on the album. Wonderfully interpreted by an incredible Nada, it is a song that strikes straight to the heart. With its repetitive cadence, it becomes a splendid earworm, insinuating itself slowly but inevitably into your head. The first time I heard it, I immediately felt the need to listen to it over and over, until the words were etched into my mind and I started to sing: la pioggia che scende giù / che riga le vetrine piene / che rende i nostri volti inutili / non conta niente ormai / non conta niente ormai.
Another moment of particular intensity present on the album is provided by another splendid song: “Schiava dell’aria”. Opened by a real recitative by Zamboni, it is closed by a marvelous duet between soprano Marina Parente and Lalli, accompanied by a delicate motif developed by strings and measured percussion. Delicate and moving.

In short, “Sorella Sconfitta” is an excellent debut work, because it's a pleasant, distinctive rock album that experiments and ventures, but doesn’t go astray, doesn’t bore and at times captivates. This is what I ask of an album.