Franco Battiato – L’animale


Franco Battiato

A legendary songwriter and musician, Franco Battiato went through experimental and pop music, reaching even classical and opera. Nicknamed Maestro (“Master”), as Wiki says he “is an Italian singer-songwriter, composer, filmmaker and, under the pseudonym Süphan Barzani, also a painter. Battiato’s songs contain esoteric, philosophical and religious themes.”

L’animale talks about a recurring topic in Battiato discography, the struggle to be free from passions and desires. In the end there is no clear outcome, the “animal inside” doesn’t allow him to live a serene life, but that’s passion, the reason why he wants her..

“L’animale”

Vivere non è difficile potendo poi rinascere
cambierei molte cose un po’ di leggerezza e di stupidità.
Fingere tu riesci a fingere quando ti trovi accanto a me
mi dai sempre ragione e avrei voglia di dirti
ch’ è meglio se sto solo…

Ma l’ animale che mi porto dentro
non mi fa vivere felice mai
si prende tutto anche il caffè
mi rende schiavo delle mie passioni
e non si arrende mai e non sa attendere
è l’ animale che mi porto dentro vuole te.

Dentro me segni di fuoco, è l’acqua che li spegne
se vuoi farli bruciare tu lasciali nell’ aria
oppure sulla terra.

Ma l’ animale che mi porto dentro
non mi fa vivere felice mai
si prende tutto anche il caffè
mi rende schiavo delle mie passioni
e non si arrende mai e non sa attendere
è l’ animale che mi porto dentro vuole te…

“The animal”

To live isn’t difficult, being able to rebirth
i’d change a lot of things, a bit of levity and foolishness
Pretend, you are able to pretend when you are next to me
You always agree with me and i’d like to tell you
that’s better if i stay on my own…

But the animal i carry inside me
never lets me live happily
he takes everything, even the coffee
makes me slave of my passions
and never gives up and isn’t able to wait
It’s the animal i carry inside and it wants you.

Inside me signs of fire, it’s water that extinguish them
if you want to let them burn, leave them in the air
or on the ground.

But the animal i carry inside me
never lets me live happily
he takes everything, even the coffee
makes me slave of my passions
and never gives up and isn’t able to wait
It’s the animal i carry inside and it wants you.

Baustelle – La canzone del parco


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.

La canzone del parco is another song from Baustelle’s debut “Sussidiario illustrato della giovinezza”, published in 2000. They aren’t my favourite band, but i’ve recently re-discovered their older songs. This one keeps a low tempo while Rachele Bastreghi sings the story of two youngsters who explore love and sex. “Tomorrow is far away” when they love each other. In the park a tree, in which they apparently carved an heart, witnesses their story and tells it from its own point of view. As opposed to its “eternal being”, it can only admit how these transient moments and feelings aren’t understandable and wonder what “these fragile humans” think of. A perfect depiction of the beautyness of ephemeral things.

“La canzone del parco”

Lui e lei ridono
Umidi baciano
Parole lievi
Leggère le piume

Se lui e lei fragili
Indecisioni
Al solito posto
La solita ora

Se lei e lui sabato
Dopo la scuola
Lo fanno sul serio
La colomba vola

 

Domani è lontano
Domani è lontano
Se mi ami ora

Se lui e lei ridono
Umidi baciano
Parole lievi
Leggère le piume

Se lei e lui timidi
Umidi scrivono platani
Con incisione di cuori
Sinceri se dicono
‘ti voglio bene’
Il parco sorride
La stagione viene

Se lei e lui nuvole
Di desideri
Si toccano puri
Il prato respira
Domani è lontano
Domani è lontano
Se mi ami ora
Domani è lontano
Se mi ami ora

Penso che
Ho di nuovo i brividi
E mi lascio prendere
Da domande inutili
Da poeti poveri
Sui miei rami umidi
Sulle foglie ultime
A che cosa pensano
Questi umani fragili

A che cosa servono
I miei rami stupidi
A che cosa servono
Se mi lascio prendere
Da pensieri inutili
Posso solo esistere
In eterno vivere
Senza avere gli attimi
Degli amanti giovani
Degli amori giovani

A che cosa pensano
Questi umani fragili
A che cosa servono
I miei rami stupidi
A che cosa servono
Se mi lascio prendere
Da pensieri inutili
A che cosa?

“The park’s song” 

He and she laugh
Wet they kiss
Soft words
Light the feathers

If he and her fragile
Incertitudes
At the usual place
The usual time

If she and he Saturday
After school
Do it for real
The dove flies [*maybe a reference to Leonard Cohen, “but remember when I moved in you /
and the holy dove was moving too”
]

Tomorrow is far away,
Tomorrow is far away
If you love me now

If he and she laugh
Wet they kiss
Soft words
Light are the feathers

If she and he shy
Wet they write plane trees
With carving of hearts
Heartfelt if they say
“I love you”
The park smiles
The season comes

If she and he clouds
of desires
Touch each other pure
The lawn breaths
Tomorrow is far away,
Tomorrow is far away
If you love me now
Tomorrow is far away
If you love me now

I think that
Once again i have shivers
And i get carried away
By useless questions
By poor poets
On my stupid branches
On the last leaves
At what do they think
These fragile humans

What are they for
My stupid branches
What are they for
If i get carried away
By useless thoughts
I can only exist
In eternal living
Without having the moments
Of young lovers
Of young loves

What do they think of
These fragile humans
What are they for
My stupid branches
What are they for
If i get carried away
By useless thoughts
What for?

Negrita – In ogni atomo


Negrita

The band’s name comes from Rolling Stone’s song “Hey Negrita!”. It actually means little black girl in spanish. They did their best between 1997 and 2001, turning a bit too much to mainstream afterwards. But they are still a good band, really exceptional in live performances.

In ogni atomo was a hit single from their 1999 album Reset, published on the wave of the successful soundtrack they composed for the breakthrough movie by a popular comedian trio (Aldo, Giovanni e Giacomo).

“In ogni atomo”

Hai le carte e passi
giocati i tuoi assi
punta pure cio’ che hai
pensi troppo a cosa fai
perche’ a quelli come noi
serve spazio ed aria sai
troppo poco quel che see’e’
troppo poco anche per te

Sei uguale a me
altro che no
sei come me
in ogni atomo

Maledetti fragili
che si fanno scrupoli
che si sciupano da se
siamo vuoti a perdere
Ma stavolta e’ colpa tua
prendi al volo e metti via
che di donne come te
lascia stare non ce ne’e’

Sei uguale a me
altro che no
sei come me
in ogni atomo

Sei uguale a me
altro che no
sei come me
in ogni atomo

Hai le carte e passi
giocati i tuoi assi
in due il rischio e’ minimo
siamo in condominio
Che chi mangia polvere
lascia i denti mordere
perche’ quelli come noi
non li schiacceranno mai
e se ti abbandonerai
io ti curero’
Medicine come noi
non le inventeranno mai
siamo soci
I’ll give you all my love

Sei uguale a me
altro che no
sei come me
in ogni atomo

“In every atom”

You got the cards and call.
Play your aces.
Let’s bet what you have
You think too much about what you do
because those like us
need space and air, you know.
Too little what’s there
too little for you too.

You are same as me
for real.
You are like me
in every atom.

Damned fragiles
that have qualms,
that spoil themselves.
We are one-way bottles
But this time it’s your fault
take it and put it away
that women like you,
forget it, there aren’t many.

You are same as me
for real.
You are like me
in every atom.

You are same as me
for real.
You are like me
in every atom.

You got the cards and call.
Play your aces.
When we are two the risk is minimum,
we are in condominium.
Because who eats the dust
leaves the teeth bite.
Because those like us,
will never be smashes.
and if you abandon yourself..
i’ll heal you.
Medicines like us,
they’ll never invent.
We are partners
I’ll give you all my love

You are same as me
for real.
You are like me
in every atom.

Negrita – Magnolia


Negrita

The band’s name comes from Rolling Stone’s song “Hey Negrita!”. It actually means little black girl in spanish. They did their best between 1997 and 2001, turning a bit too much to mainstream afterwards. But they are still a good band, really exceptional in live performances.

Magnolia has been one of their biggest commercial successes in Italy, but was never included in an album, except for a hits compilation in 2003.

“Magnolia”

Lentamente scivola
la tua mano su di te
quel tanto che basta per trasformare
ogni carezza in un gemito
ti guardo accaldata contorcerti
tra le lenzuola umide
golosa ed implacabile
forza fammi male finchè vuoi
lo sai…

Pioggia io sarò per toglierti la sete
e sole salirò per asciugarti bene
vento arriverò per poterti accarezzare
ma se vuoi, se tu vuoi
tra fango e neve, fango e neve impazzirò!

Ti ammiro per come ti approcci
a questi anni mutevoli
mi piace quel tuo senso pratico
la tua forza e l’ironia
i cieli neri intorno a noi
sono soltanto nuvole
che dolcemente soffi via
e niente può far male più, lo sai…
lo sai…

Pioggia io sarò per toglierti la sete…
e sole salirò per asciugarti bene…
vento arriverò per poterti accarezzare…
ma se vuoi, se tu vuoi
tra fango e neve, fango e neve impazzirò!
impazzirò

Finché pioggia diverrò per toglierti la sete…
e sole io sarò per asciugarti bene
vento arriverò per poterti accarezzare
ma se vuoi, se tu vuoi
tra fango e neve, fango e neve impazzirò!
impazzirò! e pioggia io sarò
per toglierti la sete, per asciugarti bene, per
poterti accarezzare
ma se vuoi, se tu vuoi
fino alla fine, fino alla fine del mondo

Vieni con me, vieni con me, vieni con me
ad insegnarmi a camminare, ad insegnarmi a respirare…
con le mani, con le mani, con le mani
con le tue mani potrei morire, sulle tue mani potrei…

“Magnolia”

Slowly slips
your hand on you
just enough to transform
every caress in a moan.
I watch you, flushed, writhe
in soaked bed sheets
greedy and relentless
Come on, harm me as long as you want
you know…

Rain i will be, to wrench your thirst
and sun i’ll grow up, to dry you well
wind i’ll come, to caress you
but if you want, if you want
between mud and snow, mud and snow, i’ll go crazy!

I admire you, for how you approach
these changing years
i like your gumption
your force and the irony
the black skies around us
are only clouds
that you sweetly blow away
and nothing can hurt anymore, you know…
you know…

Rain i will be, to wrench your thirst
and sun i’ll grow up, to dry you well
wind i’ll come, to be able to caress you
but if you want, if you want
between mud and snow, mud and snow, i’ll go crazy!
I’ll go crazy

Until i’ll become rain to wrench your thirst
and sun i’ll be to dry you well
wind i’ll come, to be able to caress you
but if you want, if you want
between mud and snow, mud and snow, i’ll go crazy!
I’ll go crazy! And rain i’ll be
to wrench your thirst, to dry you well, to be able to caress you
but if you want, if you want
until the end, until the end of the world.

Come with me, come with me, come with me
to teach me to walk, to teach me to breathe…
with the hand, with the hands, with the hands
with your hands i could die, on your hands i could…

Enrico Ruggeri – Polvere


Enrico Ruggeri

Enrico Ruggeri is a popular name of italian music, after a start as punk rocker in the late ’70s, his albums of the ’80s are considered among the best of the italian new wave (close to dark bands like The Cure), together with those of Diaframma, Garbo and Faust’o. In the following years he kept changing style, going more and more towards a classic songwriter approach.

Polvere gives title to an album of 1983 and talks about Ruggeri’s father and his mental disease, describing the old parents house as set of confused thoughts and memories.

“Polvere”

Piano americano e sfioro il tavolo con una mano
Pomeriggio strano e un desiderio che è fuggito lontano

Polvere, gran confusione, un grigio salone
in quale direzione io caccerò la polvere dai miei pensieri
E quanti misteri coi pochi poteri
che la mia condizione mi da

Aria un po’ viziata
quella finestra andrebbe spalancata
Tela rovinata
e la cornice tutta consumata

Polvere troppi ricordi è meglio esser sordi
e forse è già tardi per togliere la polvere
dagli ingranaggi dai volti dei saggi
coi pochi vantaggi che la mia condizione mi dà

Non mi cercare che non mi riconoscerai
Non mi cercare che non mi riconoscerai
Non mi cercare che non mi riconoscerai

“Dust”

Medium close shot [literally: american plane, talking about photo/video] and i brush up the table with an hand
Strange afternoon and a desire that flew far away

Dust, great confusion, a grey hall
in which direction will i kick the dust from my thoughts?
And how many mysteries with the few powers
that my condition gives me

Air a bit stale
that window should be opened wide
Ruined canvas
and the frame all worn out

Dust, too many memories, it’s better to be deaf
and maybe it’s already late to remove the dust
from cogs, from faces of wise men
with the few advantages that my condition gives me

Don’t look for me as you won’t recognize me
Don’t look for me as you won’t recognize me
Don’t look for me as you won’t recognize me

David Bowie – Ragazzo solo, ragazza sola


David Bowie

No need to introduce him. 😉

I’d like to start posting some italian language songs not sung by italian. Ragazzo solo, ragazza sola is the special italian version of Space Oddity. Published in 1970, its lyrics were written  by one of the most famous italian song authors, Mogol (who wrote most of the hits by Lucio Battisti in the ’60s and ’70s), and have nothing in common with the original english ones. Quite uncommon nowadays (with the exception of the french market due to laws that restrict the number of non-french language songs transmitted), at the time it wasn’t strange to translate songs and record them in other languages. This way many famous hits were born, like My Way (originally french) or the italian L’appuntamento (originally brazilian).

“Ragazzo solo, ragazza sola”

La mia mente ha preso il volo
Un pensiero, uno solo
Io cammino mentre dorme la citta’

I suoi occhi nella notte
Fanali bianchi nella notte
Una voce che mi parla chi sara’?

Dimmi ragazzo solo dove vai,
Perche’ tanto dolore?
Hai perduto senza dubbio un grande amore
Ma di amori e’ tutta piena la citta’,

No ragazza sola, no no no
Stavolta sei in errore
Non ho perso solamente un grande amore
Ieri sera ho perso tutto con lei.

Con lei
I colori della vita
Dei cieli blu
Una come lei non la trovero’ mai piu’

Ora ragazzo solo dove andrai
La notte e’ un grande mare
Se ti serve la mia mano per nuotare
Grazie ma stasera io vorrei morire
Perche’ sai negli occhi miei
C’e’ un angelo, un angelo
Che ormai non vola piu’ che ormai non vola piu’
Che ormai non vola piu’

C’e’ lei
I colori della vita
Dei cieli blu
Una come lei non la trovero’ mai piu’

“Lonely boy, lonely girl”

My mind just took off
One thought only one
I walk while the city sleeps

Her eyes in the night
White lanterns in the night
A voice that talks to me who will it be?

Tell me lonely boy where are you going to,
Why so much pain?
You lost without doubt a great love
But the city is full of loves

No lonely girl no no no
This time you are mistaken
I haven’t just lost a great love
Last night I lost everything with her.

With her
The colors of life
Of the blue skies
One like her I’ll never find again.

Now lonely boy where will you go?
The night is a big sea
If you need my hand to swim
Thank you but tonight I would like to die
Because you know in my eyes
There is an angel an angel
That now does not fly anymore that now does not
fly anymore
That now does not fly anymore

There is her
The colors of life
Of the blue skies
One like her I’ll never find again.

Marlene Kuntz – La canzone che scrivo per te


Marlene Kuntz

When Cristiano Godano founded Marlene Kuntz, he wanted to associate the concepts of elegance and popularity of Marlene Dietrich with the vulgarity of “cunts”, unified in a german-like spelling (but “Kuntz” is also the title of a track in a 1987 album of american experimental band Butthole Surfers). This contrast hints at the attitude, as the band was originally mixing noise rock, metallic and loud, with poetry-inspired lyrics.

La canzone che scrivo per te is part of the turning point album “Che cosa vedi” published in 2000, a record that started the transition of the band from a hard-noise rock to a pop-influenced songwriter style. The song features the english singer Skin, leader of the (at the time) popular rock band Skunk Anansie. She wrote her own english lyrics, setting up a kind of imaginary dialogue with Cristiano Godano. He longs for love, he wants to know her (she’s mysterious, a fleeting gleam), while she keeps detachment and probably regards him just as a temporary amusement. The style of the lyrics is deeply influenced by italian poets that Godano loves, like Gozzano and Montale, so it’s lexically rich and sometimes old fashioned. First two lines “There is no contact of mucosa with mucosa, / yet i get infected of you” are widely remembered and identify the song.

“La canzone che scrivo per te”

Non c’è contatto di mucosa con mucosa
eppur mi infetto di te,
che arrivi e porti desideri e capogiri
in versi appassionati indirizzati a me;

e porgi in dono la tua essenza misteriosa,
che fu un brillio fugace qualche notte fa;
e fanno presto a farsi vivi i miei sospiri
che alle pareti vanno a dire “ti vorrei qua”.

Questa è la canzone che scrivo per te:
l’ho promessa ed eccola.
Riesci a scorgerti? Sì che ci sei,
prima che ti conoscessi.

Pure frigid waters from these eyes that always miss you
Nothing but violence from my empty gun
I’m using silver to light up these blackheart faces
blinding your fingers with my skin that burns for you

Questa è (this song) la canzone che (is for me) scrivo per te:
(I listen) l’ho promessa (I promised you) ed eccola.
(I can see me) Riesci a scorgerti? (in your words from hell) Sì che ci sei
proprio mentre ti conosco (that you write for me)

E ho le tue mani da lasciarmi accarezzare il cuore
immune da difese che non servono.

Ma ora ho in testa il viso di qualcuno (don’t don’t tell me) più speciale di me,
che sa cantare ma ha più stemmi da lustrare di me…(no don’t tell me)
e questo è il tuo svago (What you want from me).
Per quel che mi riguarda sei un continente obliato (no don’t tell me)
Per quel che ho visto in fondo mi è piaciuto (I don’t wanna her, don’t tell me)

Questa è (this song) la canzone che (is for me) scrivo per te:
(I listen) l’ho promessa (I promised you) ed eccola.
(I can see me) riesci a scorgerti? (In your words from hell) non ci sei più
dopo che ti ho conosciuta (that you write for me).

“The song i write for you”

There is no contact of mucosa with mucosa,
yet i get infected of you,
who arrive and bring desires and dizziness
in passionate verses addressed to me;

and wilt give as gift your mysterious essence,
that was a fleeting gleam a few nights ago;
and they are quick to show up my sighs
that say to the walls “I want you here.”

This is the song that i write for you:
i promised it and here it is.
Can you behold yourself? Yes you are there,
before i knew you.

Pure frigid waters from these eyes that always miss you
Nothing but violence from my empty gun
I’m using silver to light up these blackheart faces
blinding your fingers with my skin that burns for you

This is (this song) the song that (is for me) i write for you:
(I listen) i promised it (I promised you) and here it is.
(I can see me) Can you behold yourself? (In your words from hell) Yes you are there
just while i know you (that you write for me).

And i have your hands to let caress my heart,
immune from defenses that are not needed.

But now in my head there’s someone’s face (do not do not tell me), more special than me,
who can sing but has more blazons to polish than me … (no do not tell me)
and this is your amusement (What you want from me).
As far as i’m concerned you’re a forgotten continent (no do not tell me),
for what i saw in the end i liked (I dont want her, do not tell me).

This is (this song) the song that (is for me) i write for you:
(I listen) i promised it (I promised you) and here it is.
(I can see me) Can you behold yourself? (In your words from hell) You’re gone,
after i have known you (that you write for me).

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.