•
Rating: Listening to the soundtrack of “Le Conseguenze Dell’Amore” is not just about listening to a mix of songs specially assembled by the talented Pasquale Catalano, but it is about reliving a film, the film by Paolo Sorrentino, which is a little gem, masterfully interpreted by Toni Servillo. The images of the film couldn’t have been better accompanied; the choice of songs was made appropriately, thoughtfully, and above all, Catalano's original music is minimal, direct, heartfelt, but most importantly, evocative.
Sorrentino's film could even be understood by listening to just the soundtrack. Because these pieces, these songs are images, colors, sensations, emotions, they convey that pathos that is abundantly present in the cinematic film. The album opens with Catalano’s intro, essential and dynamic, and the journey proceeds with “Scary World Theory” by Lali Puna, a very important track in this album. Those who know Lali Puna know what they are capable of composing and above all know the weight of their work. “Scary World Theory”, for those who don’t know, is not just a beautiful song, but a well-crafted album. This is not the place to review it, certainly, but it is important to understand what German independent music is capable of giving us. Electronic gems that offer catharsis and pure soul (despite what is often said about the coldness of this music). Taken from the album “Scary World Theory” by Lali Puna, there is also “Satur-nine”. But, besides these, there’s “Hello” by James, which is a youthful and melancholic ballad, the “techno-dance” of the Arab Skank and the Vanoni you’d never expect: the one in “Rossetto e Cioccolato”. Which fits perfectly with the rest of the album (and the film).
And suddenly it’s as if the first half of the album ends, and we face the leitmotif of Catalano, with those background strings that foreshadow tragedy, Titta's fate (then recaptured in another flavor towards the end with “La Cava”). The journey continues with the electro-kraut-rock of Forni with “Terapia interrotta” passing through the trip-hop of Terranova, to finish with Fila Brazillia. But I will finish this enumeration by suggesting the careful listening, which obliges total immersion leading to ecstasy, of “Remegio” by I.S.A.N, a post-industrial, psychedelic, intimate nightmare, which suggests to the eyes leveled lands made of dim streetlights, asphalt, housing estates, third-rate outskirts.
Ultimately, I highly recommend this album to those who have already seen the film because every song is one or more frames of the movie; because you can realize that the beauty of this new cinema lies not only in the film itself but also in the soundtrack, in the careful sequential listening of this album, in the environment that is created around you, as you submit yourself to this electronic journey, in this painting of the soul (of Titta and all of us). But I highly recommend this album also to those who haven’t seen the film yet because it can be a way, the means, to see this latest pearl by Paolo Sorrentino (despite “L’uomo in più,” which didn’t thrill me at all), thereby approaching new Neapolitan cinema, thereby confronting (and it would be an excellent acquaintance for you) and enjoying the new Neapolitan dramaturgy. Would you ever have thought of such possible connections?
Loading comments slowly
