Roberto Angelini
RiproPongo

To propose oneself again, a return to the A, after having taken winding paths that have stained your skin. Paths difficult to erase.  
Awakening.  

Angelini has talent. And plenty of it. An eclectic musician, a great experimenter, he released this EP in 2004, the year after the hit "GattoMatto" and all its (il)logical consequences, which arose as if by magic to disrupt the good things the Roman singer-songwriter had offered in the wonderful debut album Il Sig. Domani.
"RiproPongo" was perhaps the dearest project to Angelini. He wanted to return to himself. To purify himself of so much plastic. To return to wood.
To the wood of artisans, of sound, to the wood that warms and has the scent of Jazz, his ancient, though at first sight latent, passion.

An album played without constraints, without worries (especially those related to commercial sales), full of the desire to jump back into the game, after a brief but decisive swerve; a rib of Angelini, but with an outfit anything but dark from mass.
And four tracks are enough to start over. To almost rebuild a career, to convince others, and even more yourself, that you're much more than a hit, that you're not a product, that you're worth it even if, that in the end, it was nothing.
"RiproPongo" is the project that is dearest to me from Angelini. I love this sense of starting over, of getting up after a fall, of awakening after darkness, of returning to the beginning even though you've lost your initial naivety, and you know it; but returning, no matter what. Works like this save.
There's a lot. There are the first glimpses of Drake, which will lead the Roman artist to the release of "PongMoon", there's the Pongo of the splendid cover (created by the singer-songwriter himself, a brilliant plasticine modeler), showing the fragility, mixed with wonderful colors, of an artist as rare as he is.  

There's the ending of "Un portiere di Notte". Marvel. And "12 Anni", re-proposed, rearranged, with splendid electric guitars to embellish it even more, if possible. "Gocce di Pioggia" and "Non fingere" the other half of the album, the half I care most about. They fully represent Roberto's art, full of sensitivity, whispered voices, measured words, harmony in serenity, and mistakes made, big or small, that make him even more of an artist.

And there's Angelini.
An artist full of music and blood.