Tuesday, February 7th, 2017

Tiziano Ferro ft. Carmen Consoli – Il Conforto

And now for the most highly anticipated comeback: the Pleasant Nontroversy Experience!!!


Micha Cavaseno: It’s really overstuffed on that chorus, ready to burst at the seams from the torrential washedness. This is really lame, a dramatic ballad over trancey wild west synths, so eager to burst with shows of passion that read less of romantic overwhelm as people trying to show that they still have a passion that comes easy to youth. It’s got all the subtlety of a modern remake of Overboard, and I love it for just how unabashed it feels despite its garishness.

Crystal Leww: My favorite album of 2014 was Toni Braxton and Babyface’s Love, Marriage & Divorce, which was grown people who have been through some shit singing about some of the shit that they’ve been through. “Il Conforto” feels similarly in that vein. Tiziano Ferro and Carmen Consoli have lush, rich voices that live to emote, and the production here is slightly updated for the modern age. I am reminded of the work that Kavinsky did for the Drive soundtrack, which makes for surprisingly great duet backdrop.

Iain Mew: It sounds a bit like a turn of the millennium Pet Shop Boys ballad (the guitar has major “You Only Tell Me You Love Me When You’re Drunk” vibes) with melodic slips into “Don’t Dream It’s Over” and double operatic vocals. I can’t quite tell if that vocal approach, plus listening in another language, is giving it a twist that makes it stand out, or holding it back from me really loving it. Maybe both?

Juana Giaimo: Although Carman Consoli is the one who shows off her vocal abilities, it’s Tiziano Ferro who stands out by his ability to control his voice in a constantly deep, calm and comforting tone.

Jonathan Bradley: Ferro and Consoli’s voices are rich and indulgent; the pair luxuriate in their syllables while the brooding electronic pulse behind them does the reverse, holding back in restraint. That rhythmic underpinning seems to get darker as the song goes on, as if it were carrying its principals alone into the underworld, all else flickering into nothingness around them. The decadence of the high drama, even while not literally operatic, is bracing and affirmative and ultimately quite lovely.

Will Adams: The loping electropop reminded me of earlier Röyksopp, which was already a plus, but the swell in the chorus is what got me. The vocals are mixed too high and the song veers often into conventionality; still, I’d love to have more duets that take this approach.

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One Response to “Tiziano Ferro ft. Carmen Consoli – Il Conforto”

  1. They sang this yesterday at Sanremo festival, very nice. I think understanding the text is important to fully appreciate this song. Proud to see two LGBT Italians come together in such a beautiful harmony.