Uochi Toki
Cuore Amore Errore Disintegrazione

It took me a long time, indeed it took a long time, before I prepared myself for a serious, judicious, almost maniacal listening to the album in question. Listening to (or to? Awaiting clarifications on this) Uochi Toki is an arduous task, successfully deciphering in detail the content of their lyrics is an even more fateful labor. Yet let's see it this way, it's a job, a mental work that some people might like. I like it.

Various comments read on the web state that, in terms of sound, the foundations supporting the "singing" are something that closely ties with the concept we call "evolution", but I believe that lingering to speculate on the music of the Rimini duo by bringing up hackneyed terms and definitions is, besides being daring, not very relevant.

I just want to give my impression, however, before discussing the album: what Napo and Rico create is something that finds no terms of comparison, in this sense they could be considered by many as "ahead" of other musical realities, so original as to be indigestible to the more... easily impressionable.

I must admit I have never come across an Italian group (and I am not a great lover of current Italian music) as angry as it is genius, with so many things to say; listening to one of their albums is practically like reading a book written by Napo, where words are punctuated by the hammering of Rico the sound worker; astonishing.

Cuore Amore Errore Disintegrazione was released in 2010 among the curiosity and expectations of the few who had followed them since their debut (in reality, now they are very popular, especially among the bourgeois teased by Napo in the lyrics): it was said that the subject matter would be Love and that it would take more and more listens to grasp the meaning, the logic, the core, yes in short.. understanding where the hell they wanted to go.

Unlike the previous "Libro Audio", remarkable precisely for the particularity of containing various different and unrelated stories, here we are faced with a linear work, structured as if it were a story, a dream having an abrupt beginning, followed by the developments between Napo and girls characteristically, demographically, and spiritually opposite from one another, yet linked to the figure of the Magician (impersonated by Napo himself), who dialogues with them and penetrates their minds (and nothing else, I know you, horny ones from DeBaser!) to dig into their thoughts and internal impulses, until reaching an enigmatic conclusion; the tracklist then becomes even more hermetic and represents the first hurdle to overcome even before devoting oneself to mere listening:

Just resurfaced from the abyss,                                  

I wake up as a stranger in a place I have never seen before, however,

since it's natural for me to feel lost in non-places,

it's enough for me to hear distant voices to feel at home anywhere,

allowing myself spontaneous artifices,

throwing myself into ambiguous identifications neither requested nor required,

violating the consequences that the violation of sacred limits between two people entails…

…no, I'm doing something wrong, nervousness and calm alternate frantically

giving rise to the most incomprehensible of evils

that exasperates me until it explodes reality into multiple "nows"

Many are the themes addressed by Napo in his torrential texts: does friendship between a man and a woman exist or is it only apparent and petty? But do women really understand us or do they live behind fixed and self-defined patterns?(“Female intuition. Female intuition. Female intuition. Female intuition? Explain to me, girl, what is it about? I'm interested in understanding what you call "female intuition", since I only know simple intuition in its complex multiple meaning.”)

And in the presence of a friend's girlfriend? Do we pretend not to be interested or does something buzz in our heads? (I'm sure more than one here knows the answer). Napo thus tells us his "false anecdotes like this one where the listener can immerse themselves, to explain facts they couldn’t comprehend. This is my cyberpunk!":

“I say: good, now your boyfriend has vanished into nothing, he is now not here, shall we play the ladies having tea?”

“What do you mean?”

“I mean that in my head there is a switch that when I want bypasses at will any interest of a sexual nature.”

“But that makes you gay!”

“But that makes you silly! The homosexual person is a Catholic invention, that boxed normal human behaviors to give an identity to evil and roast poor souls, who today ask for rights like everyone else, and who often foment dualisms. Instead of destroying genres, they create more fixed ones. New styles in sexisms. It is to integrate among different genres that I turn off my imposed interests and focus on individualisms. Do you spot me? I just want you to understand that I am not trying to hit on you.”

“Yes, but there was no need to give me this speech!”

“I admit that perhaps my explanation is an excess of zeal, which makes me more ambiguous, and you understand less, but I need it, because I try to keep exposed what human beings usually keep inside and hidden.”

“I like it, I understand. Press that button, turn off the interests with a finger. For some reason now I trust, even if you seem constructed. Now I am serene.”

“Very well. Now we can go together and indulge in tea and cream pastries until six in the evening.”

In conclusion, it is a difficult album in question, more abstruse and esoteric than all previous works, but perhaps precisely for this reason even more fascinating, beyond being a work in which the sounds are more rich and shaped; one could discuss this work for hours, and this annoys me a bit, because while I take them perhaps too seriously, I am sure they are the first not to take themselves too seriously. But maybe that's why they are so advanced.