Nada
Luna In Piena

In the female music world, Nada Malanima possesses a very particular charisma. One that might seem heartless in certain lyrics but who, in reality, has a heart. One who has managed and continues to live without falling into the worst form of trash.

Honestly, I would divide her career into three phases: from simple songs ("Ma Che Freddo Fa") she moved on to experiments that were never banal but full of soul ("Ho Scoperto Che Esisto Anch'Io," work with texts written by Piero Ciampi, or the unjustly forgotten electronic experiments of "Noi Non Cresceremo Mai" and "Baci Rossi"), until reaching her definitive maturation, which was already glimpsed with "Dove Sei Sei" from 1999, and was completed with the release of her masterpiece, "L'Amore E' Fortissimo e Il Corpo No." A sincere, hard, heavy album. The same goes for its worthy successor "Tutto L'Amore Che Mi Manca" from 2004. Not to mention the collaboration with Massimo Zamboni in the CD "Sorella Sconfitta" and the live "L'Apertura."
2007: this is the year of "Luna In Piena," the last chapter of this new trilogy (as I see it) of the former chick of Gabbro, today a current rocker, under RadioFandango.

Because Nada is also a rocker. And, until proven otherwise, now she is more of a rocker than Ligabue, Vasco Rossi, or Nannini (all three now exhausted, dissolved, despite having done very valid things years ago).

An almost electronic, almost disco base introduces the excellent title track, presented at Sanremo. But that base is misleading, and confirming it are the guitars and strings that will follow.

But it's only the beginning, before being catapulted into an almost lo-fi dimension, with the captivating ballad "Pioggia D'Estate."

"E vola questo mondo vola intorno
E sanguinano gli occhi nel rimpianto
E vola questo mondo vola basso
E sanguinano gli occhi per il vento"

From the following tracks, a particular atmosphere is felt. An atmosphere with a pinch of the Apennines of Reggio Emilia, given that assisting Malanima in this work are Simone Filippi and Luca Rossi of Ustmamò.

However, she is also capable of being in other songs that same "full moon" in human form, given her ability to observe the "Distese" (under the dobro masterfully played by a character to be discovered like Cesare Basile), or to confront "Il Sole Grosso", her opposite ("E se rimane un po' di neve / Si scioglierà in queste vene / E tutti i nodi al pettine verranno").

And she is on the verge of facing the inability to communicate with others ("L'Attaccapanni"), even synthesizing the reasons for a separation in the form of blues in "La Verità" ("Non mi devi odiare / Perché ti lascio andare"). Only to calm down when a beautiful day appears before her eyes ("Questo Giorno"). But it all lasts briefly. And testifying to this are the "Combinazioni" she will have to deal with. The conclusion: it’s not "Tutto A Posto" ("Maledetta, è una guerra persa / Tra le ossa in questo stato mi trascino disarmata"). It results in a certain madness ("Coccodrilli nelle chiese, forza d'urto prepotenza / Luna piena s'incatena a una finestra poi si svena").

She looks around and realizes that certain things are difficult to recover ("Niente Più"), while hoping to solve them in every way.

But in our eyes, this moon, this meditating Nada (see the cover), is truly full. Bright and capable of maintaining her form. As usual. Without necessarily wanting to create another masterpiece, without pretending to know how to necessarily dance the tango or the waltz. Just be sincere with oneself and in front of others. Perhaps another masterpiece will emerge at some point, but in this case, the result is just very, very good.

Worth listening to.