A song I composed for Alice

I don´t know-
I was caught in a dream!
A dream with red hair and blue eyes,
which left me shell-less, all the time.
A dream that
all the dreams come true!
Yet the rhythm, I don´t know, the rythm is
blue.

A song I composed for Alice,
to tell her “I love you,
I have no fear”.
Notwithstanding I am
pretending.

A song I composed for Alice

 

…or was it me the
last addressee?

How to avoid disappearing

I sit and listen to music.
Nothing more, nothing less.
Nothing
else.
I am wasting my time

because I technically do
nothing.

Tick tock tick tock
Time is running and you are not producing
Tick tock tick tock
Time is passing and you are still unmoved
Wear your coat, get a job,
stop being absurd
about live for love.

I am totally with you,
I need my dream to come true.
Reality is tough, though,
Even worse than silence
in ropes, even
if I change,
I can’t change.
Even if I change,
why do I?
To conformize?
Why do I?

  • Modify my shape
  • Shape my body
  • Get healthier, more active
  • Stop compromising

 

I sit and listen to music.


 

This time it’s an homage to Lana Del Rey and her beautiful “How to disappear” (here in the first live version).

The lightness of being me (A candle holder)

I give you my spine
Oh, so divine
in the falling day
reminding the gates
I dare a gun
pointed at you
only to feel the fun
of beating the truth.
A stop-motion capture
for this lonely rapture
Breaking the law
of Mother, that haw
Thrilling restraints
for all the cocaine
for all the pills
down the hills.
Please make a sound
the magnet inverted,
now am assertive.

Foscolo remembrances

Eternal loneliness in a vortex of life
you want the middle, you stand in line,
grasping parts and hearts
blasting hearts in parts
hiding with no seek
and still trying to find the bricks,
is it a mess, or the mess is fix?

Come to me sweet sensation
I need your careless inclination,
a pathway juggling on the crest,
I have you on my right,
I need you on my left.

The eternal nothingless:
for reason is a massacre;
or the only way to feel
free.

 


This poem was inspired by the track “Eternal loneliness” from I Hate Models.

I crash on you like (L’hostage)

I crash on you like porcelain
on the ground. I fall to pieces,
each of them with a story to tell.
Where to begin?
The monster with hundreds eyes?
The meal I ate yesterday?
A carillon plays in my head,
constantly, repeatedly.
I lose myself in it
I lose myself in you.
Magical mantra
Tangible tantra.
And then you take me down to Earth, and
I can just feel alien to the earth
you want to share.
And then I close my eyes
And the only thing I can see
is the light pale through my skin.
I crash on you like a car crash dummy on the dashboard:
low damage, epic impact.

Prayer for rain

Little Lilith smelling honey
come adorn our empty noses
they could be filled with roses
but they fancy only money.
Come and shine my little honey
put a barricade, haste and wonders
we want be something besonders
come and save the little donee.


Besonders: from German, particularly, especially, expressly 

Following the body

Feeling feels somehow different now:
I don’t know if I can
– oh, sure do I; but
I mean if I really can –
translate the buzzes in my brain;
anyone gets an analyst nowadays
I am still waiting for mine to take
my dirty laundry, to wash it,
my dirty dishes, to lick it,
even though reluctant I fight
against my own unwillingness.

I cry for the dolphins
– is it egoism too?
I may be a folded pine
when the water’s so blue
caught in rifles of chloride:
like the last requested smile
on the pond,
before you
drown and, finally
get lost
freed by submission

Eh?

Don’t get lost

Submission is freeing me?
No, I don’t think so
I may be apologetic…
But no, I don’t think so –
I just look at the stars
– so far, so true –
they are alcohol and dope
I am far, if I can feel them too
so near, so bright,
yet dark as night
– that’s their meaning of existence:
feeling disconnected
to everything connected.


The title is an homage to Zanias, from the music track “Follow the body”, To the core EP, 2016. This record and her whole production are amazing, by the way.

The eclectic rock of Verdena: 20 years anniversary (and still I want more)

There’s a band, who wanted to be (the) Verbena but someone else got the name first, and so became Verdena, not the divine plant anymore, just the name of the best rock band I’ve gotten to know. With a lot of personal affection in it, yes.

Attonito, Wow, 2011

They started playing in 1995 in an old henhouse, just teenagers, two brothers and, couple of years later, a bassist. They started taking great inspiration from the grunge of Nirvana, publishing the first album, Verdena, in 1999, with the independent Italian Black Out, label born from the idea of promoting underground music with the means of a major, the owner Universal (and despite how it sounds, I would say it worked, considering also the other names supported).
Since their debut, and even before with their demo tapes, it is clear that Verdena have something special, a sound that is hard, melodic, complex, full of references from the greatest of rock, yet fresh and distinctive.

Il Gulliver, Requiem, 2007

Verdena grew up with me (or viceversa): I discovered them with their third album, Il suicidio dei samurai, and immediately started to listen to everything from their past. The result became an ongoing addiction.

Logorrea, Il suicidio dei samurai, 2004

Their cultural background is impressive but not surprising: they are big fans of the Beatles (that, ahem, I personally don’t like… yes I know, but), Interpol, Nirvana, Flaming Lips, to cite some. And every album expresses a new side, or maturity, of their sound, always carrying their timber, yet always unexpected and magnificent. When you think they have released their best album, the next one will change your mind.

Puzzle, Endkadenz vol. 1, 2015

So, what happened? Verdena, the first album, was grunge. Clearly. They were just 18, with introverted personalities, rebel: Kurt was the muse, their first inspiration. Solo un grande sasso (Just a big stone), the second album, is a new story: psychedelic and ambitious, with long complex tracks. The dark melancholy started with the second album gets emphasized in the third, Il suicidio dei samurai (The suicide of the Samurai), and almost disappears with Requiem, despite the title, that brings back their grunge but grown-up attitude. Then the double album Wow, Endkadenz Vol. 1 and Vol. 2… I prefer to leave (personal) descriptions aside and suggest you some tracks to listen to and get your personal idea.

Sotto prescrizione del dott. Huxley, Requiem, 2007

Since when I moved abroad, I’ve started to realize that, aside from the main genre, every country, even the closest ones (Austria and Italy, where I live and where I was born, for example), has a personal way to translate it, that implies that culture too. In my case, I am a big fan of the (old) Italian songwriters, I like that mix of tradition and sperimentation, that being politically engaged, poetic, idealistic; that decadent yet still brilliant flair of a brilliant yet decadent country. Lucio Battisti, Franco Battiato, Fabrizio De André, Rino Gaetano to cite a few. But I can also try (hard) to see it from an external point of view and understand that, together with the (indisputable) beauty of an execution, the emotional involvement plays a key role. That’s the best part of art. 

Fuoco amico 2 (pela i miei tratti), Endkadenz Vol. 2, 2015

 

 

Head image taken from rollingstone.it