Paolo Conte
SNOB

Following an author's artistic journey to better understand their recent works is definitely an apt criterion for evaluating Paolo Conte's latest album. "Psiche" (2008) hinted at an abstract and sketch-like component that seemed to herald a new direction. However, "Nelson" (2010) partly retracted this approach, alternating "experimental" episodes with others in the best tradition. With Snob, the Maestro reclines on his cushion, but with the clear feeling that previous albums were not in vain. In fact, as often happens in the works of the greats, a recently glimpsed trend comes to fruition here: ironic reflection on customs (the literary part) and the dismantling of the musical genre. Thus reappear the 3/4 time signatures, the Chopin-like movements, the South American rhythms, but everything is grotesque and sarcastic. Conte works on the "genre" of the piece, immersing it in a liquid that reflects back its image broken and indistinct. And it becomes immediately clear with “Si sposa l’Africa,” the opening track, irresistible and gripping in the mocking African motifs that frame it. “Donna dal profumo di caffè” and “Tropical” recall the Conte of yesteryear, but especially in the latter, the enchanted gaze on what once was is now lost. Now everything is a metaphor for a largely incomprehensible present. Beautiful "Snob," with pronounced irony, and splendid "Fandango," a mysterious piece that slowly deconstructs the style of the dance. "Incontro – Tutti a casa - L’uomo specchio," a magnificent meditative triptych. The hesitant vocal track of "Gente" betrays its origins. It's a mid-70s recording, adorned with contemporary guitar and piano embellishments in overdub. The result is an enigmatic and fascinating piece. And in the tracks not cited, the language actually dries up into brief idiomatic gusts or repeated truncated words that confirm how our artist’s eye roves parodically and mockingly over reality. I would have bet on hearing the Maestro’s voice coming, hoarse and distant, from the foggy mountain where he seemed to have chosen his artistic domicile. And instead, here he is, sarcastic and brash, strolling through the contemporary to offer his matchless and supreme irony.