Cosmo reopens the flow of creative energy and does so by returning to the origin, but without indulging in the rhetoric of the past. The fruit of this research is “La Fonte”, the new album out on April 17th.
Eleven tracks that dismantle the more immediate aesthetics of clubbing to distil a more karst presence, less declared but still pulsating.
Cosmos avoid any temptation to self-congratulation and work by layering, letting intuition guide the process more than codes. The writing intertwines with autotune and the sound material without obvious hierarchies, in a balance that does not seek synthesis but accepts the coexistence of opposites.
Next to him Alessio Natalizianow a central figure in his sound lexicon. The partnership, which has already emerged with On the wings of the white horsefinds a new maturity here: less tension towards the outside, more immersion in the details, in the microvariations, in the cracks.
The singles HI And Enchantment they had already suggested a trajectory, but it is as a whole that the album reveals its nature. Not a nostalgic return, rather an internal, almost archaeological reconnaissance. Ten years on The last partya track that had sanctioned its consecration, Cosmo chooses not to reply but to defuse.
THE RECORD TRACK BY TRACK
Go back to the source
Opening track and first creative nucleus of the album, it was born from an immediate intuition then developed through work on sound and voice. The use of autotune, brought to the foreground here as an expressive choice, becomes an integral part of the language, a sign of a present that enters the writing without filters. The text, if isolated from the music, takes the form of a poem: an opening that introduces the very meaning of the record. Returning to the source means questioning the origin, a point where past and future intertwine. A circular movement, almost a mantra, which accompanies the entry into the world of the album.
HI
Ciao talks about accepting pain as the only way to overcome it. The song was born during the first work session in the studio, starting from a sonic intuition that immediately opens up new territory. Playing with the chords, an 80s Italian pop imagery emerges, which orients the sound towards a more recognizable and defined dimension. It is precisely in this phase that the direction of the album takes shape: a turning point in which the project begins to emerge with greater clarity.
Totem and taboo
Starting from an embryonic idea linked to more urban sounds, it takes shape through a process of rewriting, subtraction and cleaning. The sound is progressively reduced to the essentials, up to a structure built on guitar, drums and voice. The writing also follows this movement, becoming more exposed and sensual.
Every day/every night
The song comes from a series of loops with a Balearic flavour, suspended and luminous, which recall imaginary 90s. The work continues outdoors, under the sky, and from there a first version that is still fluid and instinctive takes shape, subsequently brought back to a pop structure. Every day/every night is dedicated to music as a constant presence, capable of going through pain and change. More than a dream element, the dream becomes a point of origin: the idea that you are born with visions that are often lost as you grow up. The song moves on this tension, between imagination and reality, with the urgency of not losing that initial push.
The end
It's one of the most explicitly political moments on the album, but without slogans. At the center is the idea of transforming desperation into possibility: even when everything seems to be collapsing, nothing is definitive. History is not a pre-established path, but a terrain of transformation and conflict. The song works on synthesizers brought to a soft dimension and on distorted acoustic drums that alter the perception of the sound space. Autotune is also used in a singer-songwriter and elegant way, as an expressive choice integrated into the writing.
Talking to you
Talking to you comes from a guitar turn and moves on an almost physical primary urgency, that of coming into contact with someone, even just to perceive their presence. The piece remains deliberately unfinished and suspended, as if its meaning resides precisely in what is not said. Halfway through it opens into a waltz, changing tempo and shifting the emotional axis towards a more intimate dimension. It is the most romantic song on the album.
For a friend
The album here opens up to a more welcoming dimension of affectivity. There is no romantic tension but recognition: the relationship with the feminine becomes a space of balance and discovery, not a dynamic of possession or desire. The song grows organically, almost naturally, until it reaches a luminous form, which reflects the emotional depth of the album.
For my brother
This is an even deeper return to the origins of bonds. Childhood emerges as an emotional archive that is never completely closed, which continues to resurface in the present. The structure opens up to more orchestral moments, up to a finale in which the sax becomes an additional voice, almost a memory that returns to the surface.
Enchantment
Incanto develops more as a space to be crossed than as a defined form: a time that expands, loses consistency and allows a suspended perception to emerge, in which bodies move, identities are confused and everything seems to transform. At the center remains an essential need: not to get lost while everything changes. Search for each other, find each other, recognize each other even if just for an instant. That's exactly where the enchantment is born. The sense of suspension is also amplified by the use of autotune, used not as a simple correction but as an expressive tool, an alienating effect that envelops the song in a sort of sensorial fog.
Come and see
It is the most suspended moment of the album, in which the sound dimension approaches an almost ritual form. The song moves on an imagery that intertwines suggestions of the Italian beat of the 60s, gospel openings and more hypnotic and choral drifts, building a sensation of a collective call rather than a song. The idea of the source here becomes a shared gesture.
The flower blooms
The album closes with Sboccia il fiore, which collects the entire journey and translates it into a continuous movement, like a flowering that never manages to stabilize completely. The party, here, is a residual image: something that does not explode but expands, supported by house-style patterns and vocalisms that deform its perception. And at the very last moment an opening opens. The sound does not stop, but remains in suspension, destined to re-emerge as the beginning of the next project. As if every ending was just the point where everything starts moving again.
THE SUMMER MATINÉE CONCERT TOUR
After years of live experiments that have redefined the relationship between music, space and audience – from the Cosmotrain and Cosmotronic trams to party concerts lasting over eight hours, from the Milan Forum to the great Feste dell'Amore – Cosmo has announced new live events, once again in a new format: matinee concerts. A summer tour, produced by DNA concerts, designed for the morning hours, which transforms the concert into a real sound journey from waking up to the beginning of the day. A live show different from the classic evening show, capable of opening up new possibilities for listening and sharing.
Starting on Sunday 24 May from the special twentieth edition of the mi ami FESTIVAL in Milan – of which Cosmo has been the protagonist several times over the years – the tour will continue on 2 June at Decibel Presents in Florence, on 5 July at the acieloaperto festival in Cesenatico (FC), on 12 July at Forte di Bard in the province of Aosta, on 12 August at the Color Fest in Lamezia Terme (CZ) and on 15 August at the Locus Festival of Ostuni (BR) which will be opened.
24.05.26 – Milan @ mi ami FESTIVAL
02.06.26 – Florence @ Decibel Presents
05.07.26 – Cesenatico (FC) @ acieloaperto festival
12.07.26 – Bard (AO) @ Forte di Bard
12.08.26 – Lamezia Terme (CZ) @ Color Fest
15.08.26 – Ostuni (BR) @ Locus Festival
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