Baustelle – Gomma


Baustelle

The german name was chosen only because it sounded good to Francesco Bianconi, talented author (maybe less as a singer) that works for his Baustelle but also for other pop singers in Italy and as a novelist. Baustelle often try to stay in a “pop environment” musically, but the lyrics are somewhat complicated and usually taking care of social issues or broken relationships. First amazing album “Sussidiario illustrato della giovinezza” was published in 2000, unfortunately the best one in my opinion (“La moda del lento”) is not available on Spotify.

Gomma is one of the (many) beautiful songs in Baustelle’s debut “Sussidiario illustrato della giovinezza”, published in 2000. A trademark mix of up-tempo music and sharp lyrics, this time talking about high school times, adolescents having sex and drugs in an otherwise boring context. The use of italian language in this song is not really proper one, definitely not the best to learn grammar from, but lexicon is interesting and inspiring.

“Gomma”

Settembre spesso ad aspettarti
e giorni scarni tutti uguali
fumavo venti sigarette
e groppi in gola e secca sete di te

tue cartoline-condoglianze
“hello bastardo ci vediamo”
l’adolescenza che spedivi
sulle mie tenebre incestuose-osé
ed il futuro stava fuori
dalla new wave da liceale
così speravo di ammalarmi
o perlomeno che si infettassero i bar

Novembre mio facevi freddo
la fronte frigo il polso a zero
sporcare specchi era narcosi
“potrei scambiare i miei ‘Le Ore’ con te ?”

Tremavo un po’ di doglie blu
e di esistenza inutile
vibravo di vertigine
di lecca-lecca e zuccheri

Vespe d’agosto in caldo sciame
per provinciali bagni al fiume
mi pettinavo un po’ all’indietro
superficiali ricreative pietà

Sabato sera dentro un buco
e disco-gomma-americana
leccavo caramelle amare
e primavere già sfiorite con te

E già ti odiavo dal profondo
avevo piombo da sparare
se stereofonico posavo
d’imbarazzante giovinezza lamé

E fantascienza ed erezioni
che mi sfioravano le dita
tasche sfondate e pugni chiusi
“avrei bisogno di scopare con te”

Tremavo un po’ di doglie blu
e di esistenza inutile
vibravo di vertigine
di lecca-lecca e zuccheri

“Gum” 

September often waiting for you
and gaunt days one like the other.
I was smoking twenty cigarettes
and lumps in throat and dry thirst of you.

Your postcards-condolences
“Hello bastard, see you”
Adolescence that you were sending
on my incestuous and risqué darkness.
And the future stayed outside
of the high school new wave.
So i was hoping to get ill
or at least that bars get infected.

November mine, you were cold,
forehead as a fridge, heartbeat [literally: wrist] zero.
To stain mirrors was narcosis.
“Could i exchange my Le Ore [old italian porn magazine] with you?”

I was trembling a little,
of blue throes
and useless existence.
I was vibrating for dizziness,
of lollypops and sugars.

August’s wasps in hot swarm
for provincial baths in the river.
I was styling my hair a little to the back,
superficial and entertaining mercies.

Saturday night inside an hole
and disco chewing-gum.
I was licking bitter candies
and already faded Springs with you.

And i was already hating you from within.
I had lead to fire
if stereophonic i was posing
of embarrassing laminated youth.

And sci-fi and hard-ons
that brushed my fingers.
Broken pockets, closed fists.
“I’d need to fuck with you”.

I was trembling a little,
of blue throes
and useless existence.
I was vibrating for dizziness,
of lollypops and sugars.

Baustelle – L’aeroplano

Baustelle

The german name was chosen only because it sounded good to Francesco Bianconi, talented author (maybe less as a singer) that works for his Baustelle but also for other pop singers in Italy and as a novelist. Baustelle often try to stay in a “pop environment” musically, but the lyrics are somewhat complicated and usually taking care of social issues or broken relationships. First amazing album “Sussidiario illustrato della giovinezza” was published in 2000, unfortunately the best one in my opinion (“La moda del lento”) is not available on Spotify.

L’aeroplano, unlike many other Baustelle songs, is completely left to the wonderful voice of Rachele Bastreghi, who has usually far less space than Bianconi. The stunning line “I love you and i never think about you” returns a sense of regret, as the memory of this former partner just flashes for a moment, like the airplane passing fast in the sky above. At the same time, underlined on purpose by a pause, we hear that “it goes far away, it flies over… Baghdad”, with a hint to the bombers that were attacking Saddam Hussein’s Iraq at the time. Like if from the dreamlike dimension of memories she/he has to get back to the harsh reality.

“L’aeroplano”

Che cosa resta di noi
che scopiamo nel parcheggio
Cosa resta di noi:
un rottame di Volkswagen.

Il ricordo, si sa, trasfigura la realtà
La verità se ne sta sulle stelle più lontane
Ci rimane una città,
un lavoro sempre uguale
Una canzone che fa sottofondo
all’indecifrabile.

Cosa rimane di noi,
ragazzini e ragazzine
La domenica dentro le chiese
ad ascoltare la parola di Dio.
Il futuro era una nave tutta d’oro
che noi pregavamo ci portasse via lontano.

Cosa rimane di noi
ora che ci siamo amati ed odiati e traditi
e non c’è più limite.

Sfreccia in cielo un aeroplano
Io ti amo e non ti penso mai
Penso a quello che ci resta
Vola l’aeroplano, Va lontano
Vola su Baghdad
Noi voliamo invano

Che cosa resta degli anni passati ad adorarti
Cosa resta di me
delle bocche che ho baciato in discoteca
Che cosa ne è della nostra relazione
Stupidi noi che piangiamo disperati
Che cosa resta dei sogni che avevamo nella testa
La nostra esperienza a che cosa servirà

Sfreccia in cielo un aeroplano
Io ti amo e non ti penso mai
Penso a quello che ci resta
Vola l’aeroplano, Va lontano
Vola su Baghdad
Noi voliamo invano

“The airplane” 

What’s left of us
who fuck in a parking place.
What’s left of us:
a wreck of Volkswagen.

Memory, it’s known, alters reality.
Truth is on the farthest stars.
What’s left is a city,
a work, always the same.
A song that plays as background
to the indecipherable.

What’s left of us,
little boys and girls.
Sunday in the churches
listening to God’s word.
Future was a golden ship
and we prayed it would have brought us far away.

What’s left of us,
now that we loved and betrayed each other
and there is no limit anymore.

Whizzes in the sky, an airplane. [i keep the subject at the end, T.S. Eliot approves]
I love you and i never think about you.
I think about what’s left for us, flies the airplane,
it goes far away, it flies over Baghdad.
We fly in vain.

What’s left of the years adoring you.
What’s left of me,
of the mouths i kissed in the club.
What happened to our relationship,
stupid us who cry desperate.
What’s left of the dreams we had in our minds,
our experience, what will it be useful for?

Whizzes in the sky, an airplane.
I love you and i never think about you.
I think at what’s left for us, the airplane flies,
it goes far away, it flies over Baghdad.
We fly in vain.

Amor Fou – De Pedis

Amor Fou

A name in between italian and french, as “amour fou” would mean insane love (in such a meaningful way that really belongs to french language), while “amor fu” is a poetic way to say “it was love” in italian. So it’s something on the edge, passion and loss, as opposed dimensions but maybe just complementary stages of love stories. Alessandro Raina, leader and singer, comes from my town Pavia and moved to Milan to start this band, that unfortunately never had real success. Nowadays he works in the staff of a tv talent show, a common story of youth dreams gone and real life kicking in.

De Pedis is probably the best song in Amor Fou second album “I moralisti”, published in 2010, and one of the best recorded by the band together with Filemone e Bauci and Il periodo ipotetico. The title is the surname of an infamous gangster, Enrico de Pedis (nickname “Renatino” and also known as “Dandy” in the books/movies/serie “Romanzo Criminale” based on the story of his gang, “La banda della Magliana”). What was hitting the imagination of Alessandro Raina when writing this song was probably the contradictory figure of a man who killed or ordered to kill hundreds of persons, but is buried in Vatican (in Sant’Apollinare alle Terme). The author throws a vision of him, who just before dying turns to God, and to his city Rome (in a mother-like dimension that seems to complete the first invocation to the Father), to ask for mercy.

“De Pedis”

Arrivederci primo amore mio
chi si violenta gode
Arrivederci Padre
scusi se
non ho saputo ritrovare Dio
cercando solo in me.

Anche se ho visto certe cose che
offendono la sua bellezza,
se le sue mani mi volessero
le sposerei con le mie mani
mi direi che questa vita no
non è finita.

Arrivederci Roma scusa se
ti ho ricordato che si muore
arrivederci giovinezza mia
Trastevere di brutte cose
ricordati di me.

Anche se ho fatto certe cose che
amplificano la mia vanità
se le tue mani mi volessero
le sposerei tra le mie mani
ti direi che questa vita no
non è possibile, non è possibile.

“De Pedis” 

Goodbye my first love,
who rapes himself, pleases himself.
Goodbye Father,
forgive me if
i wasn’t able to rediscover God,
looking for him only inside me.

Even if i saw some things that
insult his beauty,
if his hands would want me
i’d marry them with my hands.
I would tell myself that this life, no,
is not over.

Goodbye Rome, sorry if
i remembered you that people die.
Goodbye my youth,
Trastevere of bad things,
remember me.

Even if i did some things
that amplify my vanity,
if your hands would want me
i’d marry them in my hands.
I’d tell you that this life no,
is not possible, is not possible.

 

883 – Hanno ucciso l’uomo ragno

883

Named after an Harley Davidson motorcycle model, 883 was a duo from my hometown, made by Max Pezzali and Mauro Repetto. Actually none of the two guys really play instruments, they were only writing and (as a somewhat unintended outcome) Pezzali was singing. Their debut album was a huge hit, but treated by critics as simple pop music. Some years later their songs were (at least partially deservedly) considered as great songwriters works, for lyrics that were accurately depicting reality in italian small towns in the ’90s. Nothing to do, not many opportunities but just hopes, mainly fueled by contemporary american culture (comics, motorbikes, pop songs, top models). Lines like “we talked a lot, many years ago / about how paranoic is this city / about its people and their manias / two discos and hundred and six pharmacies” in Con un deca perfectly describe a place i know very well.

Hanno ucciso l’uomo ragno was the 1992 breakthrough first song by 883 and gives title to the same album. Focused on the famous comics character, as the authors were both addicted to comics.

“Hanno ucciso l’uomo ragno”

Solita notte da lupi nel Bronx
Nel locale stan suonando un blues degli Stones
Loschi individui al bancone del bar
Pieni di whisky e margaritas

Tutto ad un tratto la porta fa slam
Il guercio entra di corsa con una novità
Dritta sicura: si mormora che i cannoni hanno fatto bang!

Hanno ucciso l’Uomo Ragno, chi sia stato non si sa
Forse quelli della mala, forse la pubblicità
Hanno ucciso l’Uomo Ragno, non si sa neanche perché
Avrà fatto qualche sgarro a qualche industria di caffè

Alla centrale della polizia
Il commissario dice: ‘Che volete che sia’
Quel che è successo non ci fermerà, il crimine non vincerà
Ma nelle strade c’è panico ormai
Nessuno esce di casa, nessuno vuole guai
Ed agli appelli alla calma in TV adesso chi ci crede più

Hanno ucciso l’Uomo Ragno, chi sia stato non si sa
Forse quelli della mala, forse la pubblicità
Hanno ucciso l’Uomo Ragno, non si sa neanche perché
Avrà fatto qualche sgarro a qualche industria di caffè

Giù nelle strade si vedono gangs di ragionieri in doppiopetto pieni di stress
Se non ti vendo mi venderai tu, per cento lire o poco più
e-e-e Le facce di Vogue sono miti per noi, attori troppo belli sono gli unici eroi
Invece lui, sì lui era una star, ma tanto non ritornerà

“They killed Spiderman” 

Usual wolves night in the Bronx,
in the bar they are playing a [Rolling] Stones blues.
Shady guys at the bar counter,
filled of whiskey and margaritas.

Then abruptly the door slams
The squinter comes in running with news.
Trustable tip: cannons made a bang!

They killed Spiderman, who did it no one knows,
maybe mob guys or someone who works in advertising.
They killed Spiderman, no one even knows why,
he must have upset a coffee industry.

At the police central station
the captain says: “it’s doesn’t matter so much”.
What happened won’t stop us, crime won’t win.
But in the streets it’s panic by now,
no one goes out, no one wants troubles
and no one believes pleas for calm on tv anymore.

They killed Spiderman, who did it no one knows,
maybe mob guys or someone who works in advertising.
They killed Spiderman, no one even knows why,
he must have messed up with a coffee industry.

Down in the streets you can see gangs of accountants in blazers [double breasted], totally stressed.
If i don’t sell you, you’ll sell me, for one hundred liras or little more.
Faces on Vogue are myths for us,
too handsome actors are the only heroes,
while he, yes he was a star, but anyway he won’t come back.

Pupo – Gelato al cioccolato

Pupo

Enzo Ghinazzi, called “little baby” (Pupo) because of his height, was a quite famous pop singer of the ’70s-’80s, still having a huge success in Russia and eastern Europe nowadays, but also turned tv showman.

Gelato al cioccolato is a famous hit of the ’80s (actually published in the album with same name in 1979), probably even well known in some countries around the world. Written by Cristiano Malgioglio about a (male) lover, it’s a very playful song in the spirit of those years.

“Gelato al cioccolato”

Ma dove vuoi andare, ti amo!
Ti annoi, va bene, balliamo
sei bella, ti lasci guardare
con te non c’è niente da fare.

Nascosta dai lunghi capelli
tu balli, ma i gesti son quelli
bambina, ti voglio, ti sento
ti muovi, mi sfuggi, mi arrendo.

Gelato al cioccolato dolce e un po’ salato
tu, gelato al cioccolato
un bacio al cioccolato io te l’ho rubato
tu, gelato al cioccolato.

Rimani così che dolce sei tu non chiedo di più.
Profumo di fiori di tiglio
fa caldo, ma qui si sta meglio
la sabbia è più bianca stasera
ma dimmi che sei proprio vera!

Gelato al cioccolato dolce e un po’ salato
tu, gelato al cioccolato
un bacio al cioccolato io te l’ho rubato
tu, gelato al cioccolato
gelato al cioccolato, sono innamorato
di un gelato al cioccolato
gelato al cioccolato dolce e un po’ salato
tu, gelato al cioccolato.

“Chocolate ice cream” 

Where do you want to go, i love you!
You are bored, ok, let’s dance.
You’re beautiful, you let me stare at you,
with you there is nothing to do.
Hidden by the long hair
you dance, but the gestures are those.
Baby i want you, i feel you.
You move, you dodge, i surrender.
Chocolate ice cream, sweet and a bit salty,
you, chocolate ice cream.
A chocolate kiss i stole from you,
you, chocolate ice cream.

Stay like this, how sweet you are, i don’t ask for more.
Scent of basswood flowers.
It’s hot, but here one feels better.
Sand is whiter tonight,
but tell me you are real!

Chocolate ice cream, sweet and a bit salty
You, chocolate ice cream.
A chocolate kiss i stole from you,
you, chocolate ice cream.
Chocolate ice cream, sweet and a bit salty,
you, chocolate ice cream.
Chocolate ice cream, sweet and a bit salty,
you, chocolate ice cream.

Baustelle – Amanda Lear

Baustelle

The german name was chosen only because it sounded good to Francesco Bianconi, talented author (maybe less as a singer) that works for his Baustelle but also for other pop singers in Italy and as a novelist. Baustelle often try to stay in a “pop environment” musically, but the lyrics are somewhat complicated and usually taking care of social issues or broken relationships. First amazing album “Sussidiario illustrato della giovinezza” was published in 2000, unfortunately the best one in my opinion (“La moda del lento”) is not available on Spotify.

Amanda Lear is the first single from 2017 album “L’amore e la violenza”. The whole record doesn’t seem to be top level, but this disenchanted song titled after the singer (and Salvador Dalì muse) sums in an effective way some themes that Bianconi always liked. Relationships gone wrong and how this is the normal flow of life, as people suffer but keep on partying to get a distraction (like he does, “kissing a slut in an alley”).

“Amanda Lear”

Amore antico, amica mia.
Amore, radio, nostalgia.
Io non ti penso quasi mai
ti ho dato in pasto agli avvoltoi
all’olocausto e ai marinai
Amore atomico, Enola Gay.

Orrore amico, errore mio
che non ti ho detto neanche addio
che non ti ho detto come mai
una domenica buttai nel cesso la fotografia
in cui ci stringevamo forte,
colpa mia
se quest’anno ti hanno visto, mi dicono,
vomitare gli occhi e l’anima a un concerto rock
abbracciata ad una testa di cazzo
un regista un coreografo, che ne so.
Un lavoro come un altro, una droga
per illuderci e credere di essere uomini.

(dicevi)
I wanna be Amanda Lear.
Il tempo di un LP,
il lato A, il lato B
non siamo mica immortali, bruciamo ed è meglio così.
Amanda Lear, soltanto per un LP
il lato A, il lato B
che niente dura per sempre nemmeno la musica.

Perduto amore, anima mia.
Amore, Nona Sinfonia
vorrei sapere come stai
se come scrivi è tutto ok
e se davvero ora lo sai
che sono diventato un mostro,
colpa tua
se mi videro nel buio di un vicolo
all’uscita posteriore di un concerto rock
pomiciare una troietta qualunque,
una tizia, una pittrice, ma che ne so.
Il tuo pessimismo da quattro soldi
chiaramente aveva fatto proseliti

(dicevi)
I wanna be Amanda Lear
il tempo di un LP
il lato A, il lato B
che niente dura per sempre, finisce ed è melgio così
Amanda Lear, soltanto per un LP
il lato A, il lato B
che niente dura per sempre figurati io e te

“Amanda Lear” 

Old love, my friend.
Love, radio, nostalgia.
I don’t think about you, almost never,
i gave you to the vultures
to the Holocaust, to the sailors.
Atomic love, Enola Gay. [name of the plane that dropped the nuclear bomb on Hiroshima]

Friendly horror, my error
as i even haven’t said goodbye
as i haven’t told you why
a Sunday i threw in the toilet the picture
in which we hugged close,
my fault
if they tell me they saw you this year
puking eyes and soul at a rock concert,
hugging an asshole,
a director, a choreographer, i don’t know.
A job like any other, a drug
to deceive ourselves and believe we are men

(You used to say)
I wanna be Amanda Lear.
The time of an LP [a vinyl Long Playing]
side A, side B
we are not immortal, we burn and it’s better this way.
Amanda Lear, only for an LP,
side A, side B
as nothing lasts forever, not even the music.

Lost love, my soul.
Love, Ninth Symphony, [Beethoven’s]
i’d like to know how you are,
if it’s all fine as you write
and if now you really know
that i became a monster,
your fault
if they saw me in the dark of an alley
at the back exit of a rock concert
kissing a slut like any other,
someone, a painter, i don’t know.
Your cheap pessimism
clearly made proselytes.

(You used to say)
I wanna be Amanda Lear.
The time of an LP,
side A, side B
as nothing lasts forever, it ends and it’s better this way.
Amanda Lear, only for an LP,
side A, side B
as nothing lasts forever, how could me and you.

Baustelle – Charlie fa surf

Baustelle

The german name was chosen only because it sounded good to Francesco Bianconi, talented author (maybe less as a singer) that works for his Baustelle but also for other pop singers in Italy and as a novelist. Baustelle often try to stay in a “pop environment” musically, but the lyrics are somewhat complicated and usually taking care of social issues or broken relationships. First amazing album “Sussidiario illustrato della giovinezza” was published in 2000, unfortunately the best one in my opinion (“La moda del lento”) is not available on Spotify.

Charlie fa surf, published in 2008 album “Amen”, is a typical Baustelle song, with a catchy sound paired with fiercely critical lyrics. Direct inspiration is Charlie don’t surf, work of italian contemporary artist Maurizio Cattelan depicting a student nailed to his desk by two pencils sticked in his hands, but going back to the original meaning would lead to the masterpiece movie Apocalypse Now (here the scene with that line) and the Clash song “Charlie don’t surf”. The song in some ways make fun of the youngsters that are mainstream even in what they believe is their “transgression”.

“Charlie fa surf”

Vorrei morire a quest’età.
Vorrei star fermo mentre il mondo va.
Ho quindici anni.
Programmo la mia drum-machine
e suono la chitarra elettrica.
Vi spacco il culo.

E’ questione d’equilibrio,
non è mica facile.

Charlie fa surf, quanta roba si fa, MDMA
Ma ha le mani inchiodate.
Se Charlie fa skate, non abbiate pietà.
Crocifiggetelo.
Sfiguratelo in volto con la mazza da golf.
Alleluja, alleluja.

Mi piace il metal e l’ r’n’b.
Ho scaricato tonnellate di filmati porno.
Vado in chiesa e faccio sport.
Prendo pastiglie che contengono paroxetina.

Io non voglio crescere.
Andate a farvi fottere.

Charlie fa surf, quanta roba si fa, MDMA
Ma ha le mani inchiodate
da un mondo di grandi e di preti.
Fa skate, non abbiate pietà.
Una mazza da baseball, quanto bene gli fa.
Alleluja, Alleluja.

“Charlie surfs” 

I’d like to die at this age.
I’d like to stay still while the world spins.
I’m fifteen.
I program my drum-machine
and play electric guitar.
I’ll kick your ass.

It’s a matter of balance,
it’s not easy.

Charlie surfs, how much dope that he takes, MDMA
But his hands are nailed.
If Charlie skates, have no mercy.
Crucify him.
Disfigure his face with a golf bat.
Halleluja, Halleluja.

I like heavy metal and R’n’B.
I downloaded tons of porn videos.
I go to church and do sports.
I take pills that contain paroxetine.

I don’t want to grow up.
Go fuck yourselves.

Charlie surfs, how much dope that he takes, MDMA
But his hands are nailed
by a world of adults and priests.
He skates, have no mercy.
A baseball bat, how good it’s for him.
Halleluja, Halleluja.

Afterhours – Pelle

Afterhours

Afterhours are an alternative rock band from a small town near Milan, they started singing in english at the end of  the ’80s and switched soon to italian (even though they recorded some more english tracks). The name comes from a Velvet Underground recording, as the leader Manuel Agnelli loved how rich and various that album is, featuring calm but also violent songs.

Pelle (from the 1997 album “Hai paura del buio?”) sounds simply like a song about missing someone, her/his skin, in the most passionate and painful way. The fleshly dimension adds up to the desire to know, to achieve a complete understanding in the lines “I was entering deep in you, you know, / only to understand who you are.”

“Pelle”

È facile sai, averti
se chiudo i miei begli occhietti spenti
e cerco su di me
la tua pelle che non c’è.
Poi ti entro in fondo dentro, lo sai
soltanto per capire chi sei.

Forse sei un congegno che
si spegne da sè.
Forse sei un congegno che
si spegne da sè.

E puoi maledire la tua bocca,
se sbagliando mi chiama
quando lui ti tocca.
Cercherò su di me
la tua pelle che non c’è.
Ti entravo in fondo dentro, lo sai
soltanto per capire chi sei.

Forse sei un congegno che
si spegne da sè.
Forse sei un congegno che
Si spegne da sè.

“Skin”

It’s easy you know, to have you
if i close my beautiful dull little eyes
and search on me
your skin that is not there.
Then i enter deep in you, you know,
only to understand who you are.

Maybe you are a device that
turns off by itself.
Maybe you are a device that
turns off by itself.

And you can damn your mouth,
if by mistake it calls me
when he touches you.
I will search on me
your skin that is not there.
I was entering deep in you, you know,
only to understand who you are.

Maybe you are a device that
turns off by itself.
Maybe you are a device that
turns off by itself..

Afterhours – Quello che non c’è

Afterhours

Afterhours are an alternative rock band from a small town near Milan, they started singing in english at the end of  the ’80s and switched soon to italian (even though they recorded some more english tracks). The name comes from a Velvet Underground recording, as the leader Manuel Agnelli loved how rich and various that album is, featuring calm but also violent songs.

Quello che non c’è is a song (from the 2002 album with same title) about not being satisfied while one constantly looks for something that is not what he truly wants, some goals that come from external expectations and to conform to society in a lazy way. In the end one ends up frustrated for not reaching something that is actually not there, instead of taking risks and be brave enough to reach something satisfying.

“Quello che non c’è”

Ho questa foto di pura gioia,
è di un bambino con la sua pistola,
che spara dritto davanti a sé
a quello che non c’è.

Ho perso il gusto, non ha sapore
quest’alito di angelo che mi lecca il cuore,
ma credo di camminare dritto sull’acqua e
su quello che non c’è.

Arriva l’alba o forse no,
a volte ciò che sembra alba, non è,
ma so che so camminare dritto sull’acqua e
su quello che non c’è.

Rivuoi la scelta, rivuoi il controllo,
rivoglio le mie ali nere, il mio mantello.
La chiave della felicità è la disobbedienza in sé
a quello che non c’è.

Perciò io maledico il modo in cui sono fatto,
il mio modo di morire sano e salvo dove m’attacco,
il mio modo vigliacco di restare sperando che ci sia
quello che non c’è.

Curo le foglie, saranno forti
se riesco ad ignorare che gli alberi son morti,
ma questo è camminare alto sull’acqua e
su quello che non c’è.

Ed ecco arriva l’alba, so che è qui per me
meraviglioso come a volte ciò che sembra non è.
Fottendosi da sé, fottendosi da me,
per quello che non c’è.

“What is not there” 

I have this picture of pure joy,
it’s of a child with his gun
who shoots straight in front of him
at what is not there.

I lost taste, it has no taste
this breath of angel that licks my heart,
but i believe i’m walking straight on the water and
on what is not there.

Here comes the dawn or maybe not,
sometimes what seems dawn isn’t,
but i know i’m able to walk straight on the water and
on what is not there.

You want choice back, you want control back,
i want my black wings, my cloak.
The key to happiness is the disobedience itself
to what is not there.

Therefore i damn the way i am
my way of dying safe and sound, that i cling to,
my coward way of staying, hoping that there would be
what is not there.

I take care of the leaves, they’ll be strong
if i can ignore that the trees are dead,
but this is walking high on the water and
on what is not there.

And here comes the dawn, i know it’s here for me.
Wonderful as sometimes what seems to be isn’t.
Getting screwed by oneself, getting screwed by myself
for what is not there.