“I'd like to listen to a record while shopping.” So Matteo Castiglioni, keyboardist of the Murena studio, launched almost a joke the idea of what he would become Nighttheir third studio album. A simple phrase, but which already contained everything: the idea of a more open, more direct album. “Obviously then everyone is different,” he explains. «To say, while I shop I listen to Kendrick Lamar and Little Simz. But the meaning was clear: a disc that leaves a little breath ».
Night It is not carefree entertainment. It moves between melancholy and anger, between fragility and denunciation, between individual drives and collective visions. “There are two very complex years within my life,” says the frontman and author of the texts Lorenzo “Carma” Carminati, “finished relationships, personal pains, but also a great desire to tell what is around us and the need to talk about what we see and live, also on a political and social level”.
The starting point of the album is a house in Roaschia, Piedmont, where the Murena studio retired for three days in the summer of 2023. “There was a large part of the songs,” explains Maurizio Gazzola, bassist. «We wrote a lot, more than we expected. Initially we just wanted to throw down some ideas, but we realized that something much more structured was being born. From an improvised retreat came out the skeleton of the album ». The rest was developed during 2024, often in small groups and then aimed at the supervision of Tommaso Colliva, already working on the previous one Wadirum. «Tommaso helped us to bring out a more personal, less performative tone. There was the will to simplify, even in the texts ».
A simplification that looks to greater accessibility, but does not sacrifice the systematic stratification of traces and concept: Night It is a dense work that reflects on the city (Milan) and its social contradictions, on the peripheral areas where the members of the collective inhabit, such as Corvetto or Barona (“those places enter the texts”) and on the love breaks taken as a pretext to reflect on oneself. Melancholy is intertwined with an urgency of complaint that emerges above all in the most rough pieces, such as Out of place with half -legal or Tunnel with Willie Peyote, but also in the distorted and aggressive flow of 24kili (faces without face or identity whose pitchata voice belongs to a unknown member of the band) who in the final of Baba Jaga It tells a desperate vortex between love and drugs.
In NostalgiaFabrizio Bosso's trumpet frames melancholy words that intertwine with Tomorrow is another day Reda famous years ago by Ornella Vanoni, creating a sort of bridge between generations of disenchantment. In TunnelCarma and Willie Peyote paint a city of frenzy and illusions. The interlude of Vienna Immortal an intense love, which flows into the homonymous trace, also citing Franco Battiato. Three doors of fear It is a dialogue between a psychologist (played by the voice of Valeria forgive) and his patient, who tells his fears through three recurring nightmares, born from a jam on a fragment of Evidence by Thelonious Monk, with dissonant silences and harmonies. In Go awaythe arches of Rodrigo d'Erasmo accompany a reflection on the difficulties of a relationship, while in Out of placeHalf -bait joins the band on a complex but authentic journey. In the end, Jazzhighlanders It is a claim of the importance of being consistent, refusing pre -established paths, even if this makes us vulnerable.
The title Night It is not only a poetic suggestion, but a reading lens of the world. “He tells a moment, a feeling, a state of mind,” says Carma. “There is no more talk of a place, as in the previous album, but of a mental condition.” The very idea of the night effect, which also recalls Truffaut and its reflection on cinema as a staging of life, returns to the construction of the songs, which often seem to be small emotional short films. The first track Another day with another Sun It is inspired by an installation by Philippe Rahm at Hangar Bicocca, where a whole day is condensed in a few seconds of light. «That suggestion hit us immediately. It is as if the whole disc moved in that dilated time, between awareness and dream ».
The visual work was curated by Paolo Proserpio (who signed the artistic direction of the artwork) and by Matteo Castiglioni himself, who built an imaginary made of maps, parking lots, travel and urban landscapes filtered by the gaze of the night. An aesthetic that will also find space in live concerts. «On stage we also want to bring visual elements and data in real time. Our live will be an extension of the disc, not just an execution. “
The sound, as always for Murena study, was born from the intersection between jazz, rap, electronics and improvisation. But in Night It is as if every element had been filtered by a new, less cerebral, more intimate urgency. «It was a very choral job, but more felt on a personal level. In some moments it was like getting naked. ” Collaborations with Fabrizio Bosso or with Rodrigo d'Erasmo give further emotional depth to the most reflective pieces, while Three doors of fear He works on a restless threshold between dream and psychoanalysis, letting silence be the same weight as the word.
Two years after Wadirumthe confessions of Night They mark a new step of the Murena study path, increasingly loose and safe than themselves, with everything that implies: “Now we must no longer present ourselves”, concludes Carma, “we can simply tell. And to accept that sometimes the things we say are not easy, not even for us ».
