Uochi Toki
Idioti

"Before writing a DeReview, you should know that…

Maybe someone has already written it!

Check with the DeSearch engine that the work you want to review is not already present in the magical DeDatabase; if it's already there, you decide whether it's still worth writing a review: maybe yes (you have something else to say), but maybe not."

The wise advice from the site alerts me, so I check that this little disc hasn't already been breached by another user in an in-depth, meticulous, and exhaustive musical analysis. Result positive (but negative for me), one review that, at the moment, ruins my plan, which was to fill the Sunday afternoon gap (I admire those of you who are content with the Serie A) by writing my opinions and ideas about idiots; I meant to say, about "Idioti," the 2012 album by Uochi Toki.

… but wait!

The characteristic DeUser with the even more characteristic DeName "O__O" (I believe it's pronounced O O divided by) has expressed a negative opinion of the album in question, while I would have a positive one!

"if it's already there, you decide whether it's still worth writing a review: maybe yes (you have something else to say)"

I decide that the Sunday gap will be filled with great pleasure.

So I follow the advice that Napo gives me on Le metafore by "Laze Biose" ("If you want to completely cook an omelette, you have to flip it. Otherwise, you end up eating one side cooked and the other not.") and here I begin the Second Review of the album Idioti on Debaser. (I hope that no one in the next few days will want to emulate William Wallace and storm into my room with a mace while I'm sleeping).

Let's start from the beginning, and indeed from the valid criticisms that were made at the time in the other review: Idioti doesn’t present itself so much as a turning point, but as a point of no return for the duo, a grotesque extremization that is sometimes disjointed (see Perifrastica, a convoluted play on words, an audacious yet foolish attempt to disrupt the language).

However, I must preface with an important fact, namely that Ecce Robot and Sberloni almost alone are worth the entire album: the former, on a pulsating electronic base, is the magnificent personification of an individual obsessed with science ("I am addicted to sciences, to sciences, to sciences as if they were atom churches… my prophets are people who discover the indivisible, knowledge I accept as credible, but that to me is invisible"), willing to sacrifice his human nature just to become a physical slave to scientific knowledge; the latter, instead, presents itself as a hallucinatory account of Napo's gastronomic inclinations, starting from the most inviting and common ones and then ending with the most horrific and unlikely, all amidst various digressions ranging from packed lunches to demanding customers to incompetent cooks; here too, Rico's bases perfectly accompany the nonsense (I see that Napo loves the word “pirla”) that are thrown in the listener's face, some extravagant, others enlightened, rather than enlightening.

The top position on our chart and Tigre contro Tigre are the most absurd things I've ever listened to, at times leaving me utterly speechless, and at others surprising me with many ironic and irreverent meanings contained in the text; and then comes The review of this album and Uochi Toki immediately dismantle me: there was no need for me to write this review trying to summarize the general feelings I experienced during the listening, because it's impossible for me to tell you one by one the mental processes that took place in my mind while listening to Napo's torrential lyrics, every flash and intuition among the microscopic facets; this album, if you have the time, you need to dissect and deconstruct it without being overwhelmed by common sense, taking it seriously, without taking it too seriously.

I think it's impossible to condemn it so coldly as good O__O, , just as it can’t be elevated to the best work since “Vocapatch," actually, logically it would seem that their work released in March of this year is the least enjoyable compared to previous ones (astonishing the first trilogy “Vocapatch-Omonimo-Laze Biose,” immense the second “La Chiave del 20-Libro Audio-Cuore Amore etc. etc.), yet many questions and much curiosity remain about this album, in its interesting and original way. So original that one wonders, how will their next work be?

In originality, the U.T. certainly do not lack, but can originality always be considered a quality?