From Giorgia to Venerus: a week of great music
Two great returns, one Italian and the other international, two queens in their field. The week of great pop sees the release of new albums by Giorgia, who has had an extraordinary year since her participation in the last edition of the Sanremo Festival, and by Rosalía, who has demonstrated that she is back on track not to please the public, but to leave another mark as an artist with a capital “a”. It’s not over: the new albums by Il Tre and Venerus will also be released on Friday 7 November. Below are the tips and insights on Rockol’s releases.
Giorgia – “G”
His last album of unreleased songs, “Blu”, released two and a half years ago, included a second volume which never saw the light. It’s that after the release of that album, which came after a difficult Sanremo Festival, that of sixth place with “Parole dette male”, Giorgia questioned herself. Again. She got out of the impasse by changing the work team, from the manager to the producers. Slait, real name Ignazio Pisano, DJ and producer of Salmo’s Machete tour, put the ideas back in order. The reconstruction also started from Sanremo, where in February with “La cura per me” the Roman singer became the moral winner of the latest edition of the event. Then came “L’unica”, with a summery flavour, and finally “Golpe”. This album, “G”, described as “a journey through the contradictions and beauty of human emotions”, now seals the last months – golden, indeed, platinum – of the career of the voice of “Come saprei”.
Rosalía – “Lux”
Between the feminine mystique and Bjork, Rosalía’s new album, “Lux”, represents a further step in the career of the Catalan singer-songwriter who made flamenco pop and brought masterpieces of Spanish and Latin popular music to the charts such as “La niña de fuego” by Manolo Caracol, “Delirio de grandeza” by the Cuban Justo Betancourt and “The sun of latin music” by Eddie Palmieri. “Lux” is a challenging musical exercise, which aims to bring complexity to pop and vice versa. It is a record conceived as a symphony, divided into movements. In which Rosalía mixes electronics and strings, pop and classical, high and low, sacred and profane, singing in thirteen different languages: not only Spanish, not only English, but also German, Arabic and even Sicilian. The magnificent single “Berghain”, recorded with the Icelandic musician, anticipated it.
Venerus – “Let’s hope”
With “Speriamo”, Venerus returns with an album that seems to continue the path of sonic and personal research already undertaken in previous works. The title suggests a tension towards the future, between uncertainty and the desire for possibilities. The new tracks move between soft electronics, jazzy arrangements and more intimate moments, in a balance between experimentation and melody. Venerus’ voice remains central, used as an emotional rather than narrative tool. It is an album that favors atmosphere and flow over structure, confirming the artist as one of the freest and least pigeonholed figures on the Italian scene.
The Three – “Black soul”
“Anima nera” marks a more introspective turning point for Il Tre, which after the feedback from previous works seems to want to question part of its own image. The productions remain linked to urban and trap sounds, but become darker and more reflective, with lyrics that address vulnerability, ambition and a sense of isolation. The singer shows a new maturity in balancing energy and introspection, alternating more direct songs with more narrative moments. The result is a more personal album, less oriented towards immediate impact and more attentive to the construction of a coherent story.
