A collection of snapshots that cross neighborhoods, cork nativity scenes, school of the obvious, football players, unfulfilled desires. A writing dressed in a light pop, behind which, by contrast, decadent and disillusioned scenarios are hidden.
It was released in October by peermusic ITALY Hormonesthe album that marks the new artistic phase of the project born in 2017 as a collective and now evolved into a solo form. In Kinder Gardenin fact, today the music and words of the Roman, born in 1996, Francesco Menna are contained.
Eight songs between contemporary synth pop and electronic indie pop, with a voice with post-trap contours, which also see the participation of Total Black – grew up in the same musical circle as Francesco and already in Garage Gang – and that of Aliceco-founder and member of the collective Thrucollected.
Yours is a writing in images, where a snapshot becomes a symbol, a metaphor for a reflection, an idea, a concept. From the turbulent biancoceleste champion Chinaglia, to the Parioli district of Rome, to the cork nativity scenes. Are there, in your opinion, other images contained in your album that can remain imprinted or in which those who listen to it could recognize themselves?
Personally, I am very attached to Nativity Scenes, in particular to the phrase “you wanted a daughter to have a mother” and to the final play of meanings “tooth that shines/star that falls” which obviously must be reversed (tooth that falls out/star that shines), I find it quite evocative.
How important is visual identity in a musical project like yours? And how did you choose the photos that were then processed to become the album and single covers?
I think that the visual identity of any product is very important, but in music in my opinion one could say that there are no good records that have an ugly cover, and at the same time there are no bad records with beautiful covers.
The meaning is that a cover must always be at the service of the music, so if the latter does not have a meaning then the cover will have no impact.
I chose the photos at the suggestion of my ex-girlfriend who was leafing through one of my family albums (they are old photos that my mother took when I was little).
Between rock and rap, passing through a jazz background and also putting your nose into electronics “between repetitive loops and synthetic sounds” as we read in the story of your album. How do these seemingly distant souls come together in your music and creative process?
I have always tried to see music (both when listening and when producing) simply as a distraction, as a game can be for a child who doesn't ask himself what game he is playing, it simply passes the time.
So I never categorize music by genre when I listen, just as when I write I don't think too much about what I'm writing, I just try not to do things that are too far from me.
We were particularly struck by the song “Scuola dell'Ovvio”. When do you think discomfort disguises itself as a misunderstanding, making something seem obvious that perhaps isn't so obvious after all?
When the ego and the I merge together and are no longer distinguishable.
I'll try to explain.
The feeling of discomfort has a thousand facets and everyone experiences it differently, but wanting to generalize, I would say that it arises from a lack of care.
It could be care for ourselves, for another person, a plant, a dog or anything else, the point is that to care we need to know who we are, or rather, we need to know that we are, and this is impossible if the ego and the I are confused.
Daniel D`Amico for SANREMO.FM
