In short, Coez also returned. And since the weather is cyclical, after a four -handed acclaimed album with Frah Quintale like Lovebarsto a certain Silvano he felt the need to return to talk a little bit about himself and what a giant of Italian rap and pop think, but he is also a 41 -year -old man, although suffering from a wonderful Peter Pan syndrome.
Therefore, it is legitimate that a record like the new 1998 ascertained that yes, time is cyclical, but it is also fleeting. And also a lot. What exactly happened in '98 to deserve the title of his seventh solo album, Manco Silvano knows it. It is rather a question of Vibe, to contextualize life in 1998 and compare it to the late capitalist nightmare of today, alienated by screens and spectra of future nefarious. So it is quite understandable, in the year of the Oasis reunion, that Coez has signed his work more instrumentally played and also Britpop so far.
To crown this English skid, the rapper of Nocera but grown in Rome has decided to launch the album in the capital of the United Kingdom: three dates in as many historic clubs in Camden, to present the new album and drink hectoliters of Like It's 1998 beer.
But why in London?
Well, first of all it was clearly an excuse of drinking excellent beer while we play.
How do you prefer it: pills, guinness?
So, I go to the Pils because I can drink a bang. Then I drink the guinness in Dublin. At every place his specialty. Seriously, we made an album that has a little 90s sounds, in some cases a little Brit, however all stuff to play in bands, all stuff to play without sequences, so we had thought of trying the pieces of this album in historic clubs in London. Or in any case in general in small places. We thought that perhaps doing it in Italy would not have the same flavor. Here you are.
In which historical clubs did you play?
They are all three clubs in Camden. We played at Dingwalls, Jazz Cafe and Dublin Castle which is the smallest one, take into account 150 people. But perhaps it is that with the right attitude, I understood it when we got off the stage. We talked to the audience, we drank with everyone.
Mainly Italian audience?
Then, almost all Italian, eh, on the first date, even Italians who do not live in London but came from Italy. In short, they were the slightly more ultras ones who made the data tickets out, boh, 23 hours. In the other two, however, perhaps there was the English girl with the Italian boy or vice versa. But here, when artists like us do these things abroad, they do it mainly in front of compatriots expatriates. Let's not tell lies.
London was not an excuse to travel in space but also over time, therefore. It is clear that it is a central theme on the disc.
Exact. It was great for us to return to playing in 500 people, reliving that attitude on your skin. If you calculate that then in Italy something would have been taken badly for people who could perhaps remain out, understand? Instead, so, in my opinion, in the end, it seems to me that it worked. He turned well, there have been no discontented. The numbers were right, the prices and tickets were right, so it seemed to me right among the top three of the marketing operations I made in my life.
It was a bit to return to the Broken Speakers.
Exact. Among other things, there is also a few pieces on the record that however returns a little with that attitude there. And I must say that in such a place the piece that is the most of it arrives in a different way than a building where the singalong, the floor and voice arrives more. That is, absurdly, a slow piece in a building becomes more live. And instead in those small places the piece clearly that a little can, a little fast, with the faster time you feel more. Which are then those dedicated to '98 practically.
Eh, because in the album there is both summer and winter '98. But what exactly did it happen in '98?
Eh, I still didn't understand this, I have to say. Because first I make the records and then they make sense later. The reality is a time when, before 2001 and the attack (and also of the widespread diffusion of the internet, where there was still a hope that things could continue to be a little more solar. There was more hope. Then I tell you as a child of the Internet, because without iinternet I would not have been born, that is, precisely on an artistic level, but at least until the end of the 90s there was still a thread of hope in the future. Bug?
Of course, that all computers reset and then the nuclear and cocks and decks started and the world ended.
Yes, it was the last few years truly without this addiction to the screen of the mobile phone. There is some nostalgia for those years. Something with the new millennium happened. Here the nostalgia a little dominates. The disc so much so that it ends with time flies. Yes, anyway the record yes, it is a little a little nostalgic. Then I don't disk I think they are more or less of the, in short, of an emotion. Maybe here nostalgia somehow dominates.
And so you have to use it at best, you say?
Exact. So actually at this age you also begin to think there is not everything 'I'm time, as in '98.
In the first piece you also speak of death.
Yes, it is a record that speaks a little loss. But in general, however, loss, it is true that it is a negative feeling, but in the end when you miss something there can be a positive aspect. Maybe if you have too much ballast losing stuff maybe it's also a good idea not to drown, isn't it?
If we do not count the album with Frah, it hasn't left a record for quite a while: the last one was flying from 2021. Since then it has changed a little music in Italy. Which do you think your current place is in the Italian panorama?
I have always done my things as a basic. In the sense: my records in general were not flowers to this here, I see them all structured in a certain way. All quite balanced with however pieces that have liked the most, pieces that liked them less. Then there are moments, for example, as it was that of the Indie Exploit where, yes, I was launched in the air.
Talk about the era of I make a messno?
Yes, that stuff completely intercepted the taste of the Young of that period.
Of people who hadn't been born in '98 in '98.
This disc here strives to speak to the slightly bigger ones anyway, in fact. Which maybe Love Bars or fly, no, because they had a very fresh, very aesthetic shot. With this I don't want to say that this is a busy album, but there is a lot of emotion in this album that perhaps instead on Love Bars, even being a joint album, was a little more difficult, right? Go down so much in the intimate, if you are two, I think it is difficult. Instead when you write the songs alone you can touch different deep peaks. I must say that with Frah Quintale we were awake not even trying. We simply wanted an aesthetically beautiful project, fresh music. Clearly, then, that journey there with him ended and the desire to return to my things was natural for me.
Ok, so in the end it is in the end it is also nostalgic from that point of view, of the formation on the stage. He is so played.
Yes, moreover we didn't even click [il metronomo nelle cuffie auricolari, ndr] on dates in London. It was really like playing in the 90s.
It was not that there were certainly a thousand cell phones raised to make videos.
Eh but you can't do a fuck there. I must say that the first evening in London I went down after the live to take the photos, to talk to the public, to have a beer afterwards and talk about the concert. In the end I had to leave because there were too many phones. The security guy saw that there was a little crowd, they pushed to take a photo and therefore I was removed from safety. I tell you, if there hadn't been the telephones I would have been staying there two hours to talk to them too. And to drink beers, of course.
