Achille Lauro, romantic romantic novelist: the review of 'ordinary mortals'

Enough of the rips, increasingly inconsistent variations of Rolls RoyceSlogan Facts Song. Achille Lauro now poses as a semi-confidential singer but with a deliberately ungraded Eloquium that makes the sentimental-Stradaiola chronicle of his past, of his loves, his family affections. In the background there is obviously Rome, indeed Love As the title of the individual who uses the most banal of Palindromes, like an Eau de Toilette, a Capitoline Honlyfanser, a restaurant with the cheese and pepper. Perhaps it was a predictable transformation since before Ordinary fatal On the one hand there were the literal and rétro d 'Young unconsciousthat way of making songs by reconnecting to a past of Italian music where you could afford sobs and large melodies, and on the other the autonarration of Mother boys – Iliad. In the hagiographic documentary released at the end of 2023 Lauro recounted his skidder parable that comes from the drug dealing squares and ends up attending the television squares, redeemed and comfortable both with Kayros boys, and with Mara Venier.

Also Ordinary fatal It is the story of fragments of true or likely life of this romantic romantic Romanie with himself that after so many stylistic acrobatics he decided that the time had come to devote himself to the exposure of his and other fragility with a sentimentalism of the past. And to think that there were those who expected a sensational return to rap and its themes. Lauro does not want to compete with those who have it longer (the account extract), but to those who have bigger (the heart). And perhaps after the controversies, the boutade, the “paintings”, the poses, the books, the exhibitions, the gossip and multiple attempts toÉpater Les Bourgeois All that remains was to dress once and for all as an adult, deal with the past, do it as a sensitive male.

This, Lauro says, is a album of dedications: to his city, to his great love, to his mother, to the boys with whom he grew up. «This album is of everyone. Let's try the same things. We are so similar. So fragile ». You are seeing that the number one of the good guys who came out of the bad neighborhoods is what Strip He hunted and tried to convince that the Rolls he sang was not a car, but a tablet. More than those on the sentimental relationships consumed within the ring road, the collective frescoes of the lost boys seem central and above all the song for mom Cristinamaximum example to follow, agent of the good, dispenser of love that he asks nothing, where among other things Lauro confesses to having had suicide thoughts. There is also the third part of Barabbalepic song, true story of stuff and death. The women, the drug dealers, the fifty, the loves, the courtesies, the bold enterprises he sings by making it popular novel that serves not to affirm their domain, but to transmit the idea that from certain situations you can get out of a stubbornly looking for an alternative. And do it without denying that submondo, but indeed thinking back to those days and those friends with Christian compassion and taste for the metropolitan epic.

One thing that in Lauro does not lack is the ability to play with commonplaces, to be ironic, sexy and its way rock'n'roll, of reflection but still rock'n'roll. Here there is nothing of this. Lauro focuses on the construction of a new classicism by bringing out melodies and suggestions above all by the repertoires of the 70s-70-80s songwriters, with few and frankly not impressive exceptions such as Damn San Franciscoseems inspired by the Red Hot Chili Peppers and easily skipp, or the '70 disc atmosphere of Poppy. The rest is mostly the old song or second of the old song flavors. If you seem to have listened somewhere the pre-revolor of Persistentlyif the melodic theme of Love it is familiar, if the ending of the verse of Walk of Fame lights a light bulb, if the refrain of Dirty Love Remember someone, as inside Young unconscious Many have eaten half a dozen known pieces, it is why Ordinary fatal It is the mirror of the pop these times when little or nothing is invented and everything has remained, from Venditti to Tozzi. It is the eternal return of a snubbed music because it is considered too sentimental, too popular, too old. And perhaps it is truly the retrotopia of Zygmunt Bauman made song, the past as a reassuring refuge in a world that appears very uncertain and therefore frightening.

However, the feeling remains that Ordinary fatal It is not the result of an in -depth work on this aesthetic or total adhesion to a sound world. Lauro is, moreover, one who has always cannibalize styles and trends, today one and tomorrow another. Operating in this world, it remains fatally on the surface. There is a good -natured of the voucher in Ordinary fatalbut also the sliced ​​sweetness of many melodies, the modest character of some compositions, the cloying insistence on love, the banality of certain songs, the almost implacably moved tone and, I write it with sympathy, the involuntary comic effect of certain sentences. And around the songs there is the deadly air of rhetoric, which has always been Achille's Achilles heel.

But there is also, and this makes it Ordinary fatal And above all the story of Achille Lauro interesting and its unique way, a credible sharing to the stories and fragility of others, the refusal to replicate the commonplaces of the road rap from which Lauro emerged many years ago, to imagine something better than the celebration of the unbridled wealth by ultracapitalists who make you the average because they made the parmesan and therefore can look at you from the top. In his music Lauro does not look at anyone from top to bottom. Instead, he looks at the boy who was and those who today do the life he did without judging, because he knows that they burn about freedom and think that it is better to end up bad than ending the parents. To then find himself twenty years later to apologize to his mother, after understanding everything. The dead are those who have not understood it in time.

For music and themes, Ordinary fatal It is the arrival point of at least a couple of songs that Lauro published some time ago, the game between memory and feeling of March 16th And Only uswhere he was a cantor of anyone's children, of the boys who ended up on the edge of everything. Here is the same popular cantability. On the contrary, it is found accentuated in many pieces, made even more marked by the deliberately drawn, vulgar and Roman of Lauro way of singing. It would also be a record that listened to more than two or three times if it were not for the disproportion between the beautiful intentions and the actual consistency of the songs, as in those art catalogs full of imaginative descriptions of very little amazing works.