Moltheni
Toilette Memoria

Knowing that one's homeland is capable of producing something more artistically significant than kitchen furniture and motorcyclists with little grasp of subjunctives is partially comforting. For this reason, my shared origins from the Marche region have always made me keep an eye on bands like Yuppie Flu or songwriters like Moltheni.
The latter, actually named Umberto Giardini, has just released the new "Toilette Memoria" after yet another change of record label (this time released by "La Tempesta") and just over a year after the previous "Splendore Terrore" which puzzled some and fascinated others (including yours truly).

The comparison with its predecessor is inevitable, given that "Toilette Memoria" constitutes, according to the author himself, a sort of appendix to "Terrore Splendore" and some of the tracks are outtakes from the recording sessions of that album.
The sound here has become fuller, the musical structure more homogeneous, the rhythm section of bass and drums is more consistently called to support the melodic structure, yet at its core, the attitude remains intimate and minimalist like "Splendore Terrore", with the acoustic guitar setting the sonic threads and the less frequent, yet always delightful, incursions of the Wurlitzer piano.

The start is one of the best with the Freudian "Io", where one can appreciate the Dylan-esque echoes of Moltheni the lyricist in his most inspired moments (and then the line "Where money sings, music falls silent" is a naive, yet profound truth).    
"L'Età Migliore" and "Eternamente, nell'Illusione di Te" are the bittersweet ballads one expects from Moltheni, while commendable is the choice to express political critique through an instrumental piece like "Requiem per la Repubblica Italiana".
The album features stellar collaborations by Franco Battiato in "Sento che Sta Per Succedermi Qualcosa", by Carmelo Pipitone, guitarist of Marta Sui Tubi, in the other instrumental piece "Deserto Biondo", and by Alberto and Luca Ferrari of Verdena in the closing "Cavalli Sciolti Del Nord"; truth be told, the added value of these contributions is not decisive, although Pipitone's guitar riff in "Deserto Biondo" has its reason.

The best moments are instead found, besides the already mentioned "Io", in the spleen of "Nella Mia Bocca" where like never before words and music marry in narrating the atmospheres of emotional and existential discomfort dear to Moltheni, and also in the reprise of "Nel Futuro Potere del Legno" (already present in "Terrore Splendore" as "Nel Potere del Legno") here enhanced in a version for voice, piano, and cello alone.

"Toilette Memoria" is the testimony that Moltheni's musical journey is still in that transitional phase that seems to have persisted ever since his debut, but which, until now, has rarely managed to disappoint. There remains the near certainty of some of his yet-to-be-expressed potentials and perhaps the much longed-for and awaited "masterpiece" will end up being his personal Godot.

But we, the Vladimir and Estragon of the moment, will know how to wait.