ACQUA DISTILLATA - Volume Uno + Due

The success with both audience and critics enjoyed by Rosalia with “LUX”, a work capable of combining pop and classical music through complex arrangements, might open up attention towards many other artists who employ the same formula. Layering structured sounds, blending genres that only seem worlds apart, are challenges that many musicians choose to take on. Choices that lead to breaking free from the concept of hype, of fleeting trends, betting instead on a form of timeless classicism. This is exactly what guitarist Antonio Uras, known as Ribaltavapori, has sought to achieve through this successful project, in which he has grafted the sweet voice of Lucia Gatto onto his own compositions. She is Acqua Distillata.

We find ourselves faced with an orchestral pop steeped in deep emotion, where singer-songwriter craft meets symphonic music, uniting classicism and contemporaneity, a concept conceived with the intent of exploring highly topical themes concerning environmental protection, pollution, and global warming. The result is a profound reflection on today's society, entrusted to sharp verses capable of piercing through the hypocrisy that defines our times. In a world where everyone is inclined to raise their voice, the choice here is to convey a desperate message with delicacy, an option that is, in its own way, revolutionary and unconventional. All the tracks are played exclusively with acoustic instruments: a return to roots, a need for authenticity rendered with a compositional style and aesthetic taste that look to the symphonic and chamber music of the turn of the twentieth century.

The project was released in two parts: the first four tracks came out in May 2025, the other four six months later. The songs flow into one another, fused together like movements of a single suite, with the first two in particular – “Passerà” and “Gaia” – recalling the work done by Francesco Bianconi and Enrico Gabrielli on the scores for “Fantasma”. “Hale-Boop” has a more carefree gait, influenced by 1960s singer-songwriter fare, “Livella” reveals jazz influences, while “Il mercato degli abbagli” is a soft, intimate indie-folk piece. Towards the end, the buoyant swing of “Sonnambula” gives way to “Rimani”, the enveloping closing adagio, with Lucia's voice all the more striking in a moment where it appears at its purest, in all its compelling nakedness.

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06/01/2026