interview
tion for an unspecified period. The thing had
heavy repercussions especially on the occasion of the many concerts that we did. There
was to invent something each time and the
solutions were not always convincing. With
the entry of Paul Libutti on bass and Raffaele
Renne on guitar we have a clear connotation
as a group, we have recovered a range of audio solutions with the precariousness of the
situation, that before we could not afford,
we bought in stability and strength, therefore, all made me even more free to go back to
being a more effective performer as well as
more theatrical on stage, not having to assume responsibility for all aspects related to the
sound, the guitars etc ...
Record lives of very strong contrasts, it is
often very raw, but itseems animated by feelings far from pessimistic. In what context
and atmosphere the songs we were made?
Since I am the author of all the texts of Guignol, as always, I’ll tell you that the songs
were made within a year and a half; in writing I was mainly at home, at night, where
you can concentrate. The atmosphere was the
one of personal, existential and material maximum uncertainty that, now as in the past
(even more than yesterday!) characterize my
life. This, together with the intention to put
together a sound human and appropriate environment and group for the new job.
Can you explain the reason for the cover of
Piero Ciampi, and why “Il Merlo”?
Because we liked the song, because we had
already played it in concert, because we had
made our own version, very different from
the original, and because it is very illustrative
of his figure of a man with great leaps, and at
the same time able to slide to the edge of selfharm.
6
How did is born “Sora Gemma and crucified”, in my opinion one of the best song of
album?
It arises from the image of a crucifix that I
found in the room of the house where I am
now, after my removal of two years and a
half ago. By chance I found myself to have on
the table beneath it pictures and plaques of
brothels of the years after the Great War and
the fascist period. This while I was following a
research on a show to be set up on the centenary of the Great War. And then it is born the
character of Gemma: mother of a son who
died at war, or who knows where, madam,
woman of life, devout in her own way but not
willing to abandon her professional and personal choices. A set of sacred and profane.
Who are the Italian independent artists that
you value the most right now and why?
I don’t follow much what happens within the
so-called independent Italian... The first names that we could do are to Lilith & The Sinnersaints, Salvo Ruoloe and Guido Giubbonsky, also because they are people with whom
we work, and we have collaborated recently.
Artists away from fashiionable “indie” revolutions, and especially artists from varied tastes, always capable of contaminating and be
contaminated. I might also add Cesare Basile
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