Mauro Pelosi
Acqua sintetica

Mauro Pelosi, Roman, born in '49, a cult singer-songwriter with four albums between 1972 and 1979, returned to the music scene after 40 years, setting a record of absence that surpassed even Giorgio Moroder, 30 years, and Flavio Giurato, 23.

At the dawn of the 1980s, the music industry closed its doors to many artists, and thus the thirty-year-old Mauro first tried selling items acquired during tours, then embarked on running a venue in Trastevere.

He never truly left music, composing no less than four instrumental albums for himself and friends between the 1990s and the 2000s.

Then comes a day when he decides to present Pinuccio Pirazzoli with a music project of eight tracks, a concept album dedicated to a human clone living in a world adrift. Thus was born Acqua sintetica, the unexpected return of the author of "Vent'anni di galera."

Opening with the title track, where in a dystopian world, desertification has led to the creation of artificial water, which, as the song goes, does not quench thirst.

Without going track by track, I highlight "the trilogy of love": "Come si fa, come si può," "È tempo di amare," and "Forse l'amore." The clone, subjected to a series of mutations, discovers an energy previously unknown, and must choose between mind and heart. Musically, we are in the realm of pop rock, and Mauro's voice is somewhere between Roby Facchinetti and Lucio Battisti.

"Esseri nella cenere" revisits the negativity of the first track, and "waste of desiccated planets, lost in the cycles of time, possessed man in his most beautiful part... it was a world of puppets!"

"La città vecchia" sees Pelosi starring in a video where he appears in person alongside an image of himself from the 70s, those of La stagione per morire, Al mercato degli uomini piccoli, Mauro Pelosi and Il signore dei gatti. The song alludes to the unlivability of a city "with its towers, tall enough to touch the sky, its cardboard houses, its shelters..."

The penultimate track, "Se ci fossero ancora i cellulari," is the most distinctly rock of the entire album, and here the protagonist searches through the waste that contemporary society has left to the future society in which the clone lives.

The eighth and final song, "Un clone libero," is a manifesto of the work, and it is precisely the freedom that should be emphasized, even if it's just a scraggly cat left to pet...

Acqua sintetica is the story of a future clone that can be seen allegorically as the man of today.

Who knows if Mauro will manage to publish the four instrumental works inspired by his travels in the East and America...

Meanwhile, in 2019 we gave him a big "welcome back," and it was an opportunity to (re)discover his previous productions.