Paolo Benvegnù
Hermann

Fulgenzio Innocenzi, a Tuscan engineer and author of writings on optical reading and precision mechanics, wrote only one novel, entitled "Hermann"; shortly thereafter, he mysteriously disappeared at sea, about forty years ago, off the coast of Japan. The Hermann manuscript is the inspiration behind the work of the same name by Paolo Benvegnù.

Or maybe not. Perhaps it's an outrageous lie, Fulgenzio Innocenzi never existed, and Benvegnù is pulling our leg. Knowing his wit, and his desire to entertain and enjoy himself along with his (very talented) musicians, it might indeed be an invented story.

After all, the character is - how should we say - quite out of the ordinary. And out of the ordinary is his artistic journey. In a world (even in the music industry) where appearance is more important than being, the choices of the former founder of Scisma have always been rather unpopular, to the point of self-sabotage. To the extent that, even when he finally decides to "appear," as in the recent Dandiniano Parla Con Me, I like to think that it was his originality that led him to choose to perform the pop song "Love Is Talking" and the ballad "Johnnie And Jane", which are, at least in my opinion, not exactly the most successful tracks on the record.

But he is good, damn he is good. In fact, to be honest, I should say The Paolo Benvegnù are good (meaning him and his band, as they sign themselves in the plural). Of an almost unintended greatness. Many have noticed this, including Mina, who last year reinterpreted his "Io E Te." The general public hasn't noticed, but ultimately, it doesn't seem to matter much to dear Paolo...

Compared to his two previous complete albums of new material (excluding various EPs and the excellent live "Dissolution" from last year), while "Piccoli Fragilissimi Film" was rich in soft and introspective songs, the second "Le Labbra" was carnal and intense; with this "Hermann," the talented Lombard singer-songwriter shifts partly in music (which can be categorized as rock but again spans multiple musical genres) and partly in his use of voice, which here favors deep and low tones. The beauty of the arrangements and the originality of the writing remain absolutely unchanged. The songs are filled with educated quotes, both literary and mythological, supporting the narrative of the MAN, and his journey in the world, through his myths. All these elements make it a difficult album, even more so than the previous ones, requiring several listens to fully appreciate it.

But throughout the 13 tracks, one never gets bored, and often there is excitement: like in the electric guitars of "Moses", in the prog-rock of "Il Mare E' Bellissimo", or in the piercing crescendo (also in the lyrics) of "Io Ho Visto". And also in the sinuous softness of "Avanzate, Ascoltate", which, after an introduction that bears a significant (too much?) resemblance to Karma Police by Radiohead, unfolds sweetly between piano and strings.

However, the exclamation point, the masterpiece comes with track 7, halfway through Hermann's journey: it is "Achab In New York", simultaneously delicate and furious, simply fantastic. It fades out with the invitation-order "Don’t give any explanation." We say the same thing to Paolo Benvegnù: ignore the showbiz, the record labels, the audience that worships relics of the past and overdone chart-toppers; and also ignore those who once again snubbed you at the Tenco Prize. Don’t give explanations, but continue like this, composing when you want and whatever you want, performing, having fun, and most importantly, moving us, as you have managed to do this time as well.