Ask any connoisseur of the creative golden age of Italian pop (Battiato, Bennato, Pio, Battisti) how it is doing at the start of the 2020s, there is a two in three chance that he sighs, raises his arms skyward and growls in her chin before scratching her scalp and dropping the name of Andrea Laszlo De Simone. Identified as an anomaly in a country where independent pop is just beginning to regain its colors (notably thanks to the structure Bomba Dischi, home of the various enthusiasts Calcutta, Giorgio Poi or Liberato), this Turinese with the look of another age has for so to speak tumbled on the scene in 2012 with a first self-produced disc from A to Z (Ecce Homo) which testified to a delirious ambition of lyricism and thick sound – from the Radiohead era OK Computer, in Italian and better, let’s not throw it anymore.
Seven years and a very big and big record (Uomo Donna, published by Indie 42 Records) later, the reputation of Andrea Laszlo De Simone goes far beyond the Alps and the magnificent immensityat, composed of four symphonic and sprawling songs on life, death and the universe (to sum up), arrives to us through the French indie Ekleroshock and Hamburger Records. It is an understatement to say that it is deserved. Fact, immensityat is a mini-album so large, fiery and impressive in its way of compacting six decades of maximalist pop that we can easily conjecture the author’s international orbit in an imminent future.
Until the inflammation of Pitchfork, Libe offers those who have never heard of the Italian to try it with Mistero, love story and pulsed by swirling strings that will make more than one nostalgic of the Italian seventies,Anima Latina of Battisti and of We loved each other so much of Scola, when the fire burned so hard under the lead.
immensità released March 6 at Ekleroshock / Hamburger Records / Caroline.