The war isn't over, I've still got one life left to live
And when she left, all that was missing was the last instalment
Not exactly emerging triumphant from his third appearance at Sanremo, where he landed a mere twenty-seventh place that, in this writer's view, is fairly well deserved, the eccentric rapper par excellence of our hip-hop scene Dargen D'Amico returns with a thirteenth album titled "Doppia mozzarella". An original title, far removed from the earnest self-narration of many of his peers, one that conceals an internally uneven record.
The already familiar "Ai ai", which was meant to get the Ariston dancing, is a funk-rap number with a few amusing lyrical ideas and little else. A stab at a hit that sits comfortably alongside other tracks on the record: another, more melancholy funk-pop cut like "Pianti grassi"; the hip-house track worthy of the most facile Fabri Fibra called "Centri commerciali"; and the full-on kitsch popular dance number "Piove metallo". Among these mainstream attempts, "Tecno tango" stands out for the way Dargen D'Amico fits his lyrics to the rhythm of the Argentine dance, a flow acrobat who still knows his craft.
The best moments come in the limited but still present passages where the creative side wins out. In the frenetic electronic anthem "Non bevo non fumo", in the abstract stream of consciousness of "Prima nudi chiamavamo amore" and above all in "Moto ondulatorio" and "Ipertesto", where he returns to a style all his own. This more unpredictable dimension is, however, too sparingly indulged, and largely already familiar to anyone who has listened to the previous twelve albums. In short, it's the best thing here, but hardly a novelty.
It's a shame to have to report that this "Doppia mozzarella" can reasonably be considered a minor chapter in the main body of Dargen D'Amico's discography, without even the excuse of being one of his side projects. There's no coherent thread, nor any reason not to simply pick out a handful of tracks to spin a few times and then painlessly forget the rest.
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10/04/2026
This article is an English translation of the original Italian text by Antonio Silvestri, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.