Piero Pelù
Deserti

With "L'Ultimo Girone", the final tour of Litfiba, the curtain has fallen forever on the glorious adventure of the Florentine band in the world of music.

Thirty-four dates to celebrate forty-two years of an honorable rock career, which have not yet exhausted Piero Pelù's desire to surprise and amaze us. The bad boy from Via de' Bardi, after experiencing a particularly difficult period in his life, between depression and tinnitus, returns with a brand new solo album: "Deserti".

Successor to "Pugili Fragili" from 2020 and the second protagonist of the "Trilogia del Disagio", "Deserti" is an intense and profound concept album, both wild and introspective.

Once again, Pelù highlights his intention to give a deep meaning to his creations, through a staged narrative. What cannot be contested of the Florentine frontman is his consistency, especially when analyzing the topics addressed in his songs.

"Deserti" is a work of great impact, it makes you reflect and get angry, sigh and smile. It encompasses all the contradictions of our time, the poverty of content, loneliness and turmoil, yet it leaves the door ajar for hope. The deserts are emotional and by treading their scorching sand, we try to lay bare our fragilities and weaknesses, surrounded by nothing, fully aware of being alone.

We encounter powerful and gritty riffs, percussion that winks at the most vibrant hard rock, and at times even synthesizers are not missing. Piero has drawn from here and there, and in the choruses we can find similarities with contemporary rock and the sacred monsters of the past.

We immediately understand what the tracklist is made of with the first track, "Picasso", a carefree and crazy anthem to self-esteem. "Novichok" and "Canto" shout Litfiba from the start. The word "Novichok" refers to the poison used in Russia to eliminate inconvenient figures, and in the piece’s refrains, there are explicit supportive expressions addressed to the Ukrainian people ("our skin is yellow and blue"). "Maledetto Cuore" is a splendid rock ballad and doesn't lack social critique with "Tutto e Subito" and "Elefante", the latter more melodic than its counterpart in intentions but an accomplice in expressing sincere thoughts.

In this explicit climate of social denunciation, "Il Mio Nome è Mai Più" finds the best possible placement, an acoustic version re-proposed on the occasion of the twenty-fifth anniversary of the famous single dating back to 1999 and originally performed by the trio LigaJovaPelù. The verses don't seem to have aged a day, partly due to man's repeated vice of losing himself in useless wars but especially for the sound still very relevant today.

"Baby Bang" arises from the collaboration with the Calibro 35, a Milan instrumental rock band, which stays true to its attitude, giving the piece cinematic Seventies sounds. The singing, driven by a lively tempo propelled by frantic horns, makes the track really peculiar and engaging.

"Baraonde" and "Scacciamali", brimming with riffs of remarkable intensity and execution, anticipate the ending through a massive dose of optimism and good wishes, aiming to exorcise sufferings, diseases, and the unstoppable wave of hatred. The curtain falls with the title track "Deserti", harmonically permeated by experimental electronic sounds that seem to want to cool the sensations provoked by an album we depart from truly satisfied.

It is not ungenerous to say that Pelù's solo project includes a few too many stumbles among its releases. Certainly, without Ghigo Renzulli, the music has changed quite a bit, but there are still many noteworthy episodes, particularly this last one.

"Deserti" is an honest and fearless album. It is known that suffering and difficulties inspire artists, and here there is a strong desire to start again, despite the time left behind suggesting otherwise.

Piero Pelù and his sixty-two springs do not fear the arrival of future seasons. I would say that this is evident and can only please the rock of the Belpaese.