Voci Atroci
Saluti da Saturno

1996 - Sanremo, it was the year of the missed victory of Elio e le Storie Tese, that "Terra dei cachi" unrecognized by Rocco Tanica's hindsight that made all of Italy hold its breath (a sigh of relief for some, suspense for many others).
A Sanremo that could have been revolutionary in some ways, if the victory of Jalisse the following year hadn't brought the event back to the usual rivers of words (and few facts).

During that week of Italian music, however, music lovers had reason to rejoice. Not only was Elio the favorite, but an unknown group was making its way among the young artists with a very unique proposal of a cappella singing.
Back then, Marco Boccito from "Il Manifesto", in a visionary burst of enthusiasm, called them: "The new Brutos", "The Quartetto Cetra on acid", "The drunken Neri per Caso", "Bobby Mc Ferrin interpreted by Alighiero Noschese".

Indeed, this is exactly the effect of the Voci Atroci by Andrea Ceccon, a group that, after a promising debut titled "Cattiveria naif" (an album that talked about the funerals of the rich uncle and bottles of Amaro Lucano) aimed for a big leap into serious music with "Saluti da Saturno".
To be sure, they also did an excellent test some time before, when Mina wanted them on her LP "Leggera" to rearrange "Suona ancora" by Casino Royale.
A very successful test and excellent omen for this "Saluti da Saturno", an album that completely detaches from the song genre to venture into more mature forms: that jazz a cappella that starts from Al Jarreau (but less fancy) and Mc Ferrin (if possible, with more sense of humor) and ends with the a cappella works of Quintorigo (much less pretentious). The only instrument: the drums, present in all tracks and delivered with sensitivity, almost always in regular tempos.

Speaking of music: tracks like "Arrivano i marziani", "Ostchakapumpa", "Bossa" (which means "Be careful" in Genoese dialect) and the majestic "Verde Fastidio" perhaps take a moment to get into your head, as the genre is not "catchy" per se, but after a few thorough listens, you'll start speaking like a Martian. No, actually, like a Saturnian.
The album is further enriched by short pieces like "Ora no casa 5" and "Ora no casa 6" (recordings for improbable answering machine messages), which do not forget a playful and humor-laden approach, just to remind us that, after all, we are not listening to serious music.

Thankfully.