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CARPETS & CANDLES Corrupt Blood is the rock band’s debut album in which music plays a role in saving and moral redemption.

Ten paths punctuated by life stories, from adolescence to death, from social discomfort to love, where music has a role of saving and moral redemption.

Album release on April 29, 2022.

Bad Blood is the first album by Carpets & Candles, a group that has always worked on their own songs, born from visions of Andrea Bruno and set to the music of Marta Costacurta, Daniel Donadio and Francesco Fucatoro.

It was recorded at Bios Music Studios all live to give this lively and real impetus to the interpretation.

This is a selection of the band’s songs, relaxing songs associated with the world of rock and the young impressions of the four members, called the “Four Roses”.

The theme of passing and destroying morals runs across the entire album. Born from the desire for revenge, from the ashes of a very dark period in the history of its authors, conditioned by a series of psychological and social traumas.

The annoyances that led to the writing of these passages are the confrontation with the death and loss of respected people, the confrontation with castrated and overprotective characters who suffocated adolescence, and the sterile and ruthless relationship.

Most of the songs were inspired by the group’s singer and guitarist, Andrea Bruno, from his personal experiences. The music of Marta, Francesco and Daniel, perhaps more discreetly, welcomes these experiences and makes them their own.

track by track

1- Fornication – This is the hardest rock song in the carpet. The arrangement is in keeping with the instinctive character that inspired the entire piece. There are also some references to honoring the four boys’ favorite artists. The text uses ambiguous bodily connotations, although it does not stop at the simple sexual meaning of the terms, and also refers to the interrogation of customs imposed by contemporary morals.

2. Moon – This is a hymn to madness. Love leaves a trail. Even the darkest and most innate paths. The depth of it is related to the animal that lives inside it. The craziest and most unpredictable part. Luna talks about these tracks. Written in the moonlight on one of the many sleepless nights. Love burns. The shell of the body burns, and only the ashes and the soul remain, the crazy part, where anything is possible.

3.km – The first single excerpt that talks about what happens after the relationship ends: new possibilities open up, and what was solid becomes smooth and changing.

The connection with nature reminds us that life goes on despite disappointments and lost time. They keep reminding you that life exists and goes on. It continues without you realizing it. At this point a change must be made. turn the page. Learn about the past and transform the future.

4. Distances Spaces are memory. The memory of a trip has already taken place. A nostalgic trip always comes to mind when the monotonous and everyday life is tight. Distances are the hope that existence extends beyond the unknown realms in which we live and grow.

5. stable – Stabile tells us about human fragility. Tenderness and fragility are everything. Love makes it possible to repair cracks. One moment you are whole, yet one moment in a thousand pieces like glass. We are not made of iron or marble, and we are not as stable as it sometimes seems. It takes very little to destroy us.

6. Obligation – This piece is about addiction to not knowing how to be happy. From the disease of perfectionism and idealism. Almost like the mythical eagle of Prometheus, it feeds on forces. Oltremisura is a cry trying to fill the void of understanding that seems to separate those for whom life seems to succeed without effort and those who struggle every day. In Oltremisura, failure is sung, the desire to redefine one’s finite dimensions and transcend boundaries.

7. Gravity Ideas – This passage tells us about the desire to hope; It is a reflection of monotony and the will to break it.

8. The heart is looking for you – We’re talking about life’s shortcomings. What’s happened. Without being real actors in their present. Life is a movie made without realizing it. Extras, Photographer, Low Level Actor. Viewers follow each other unconsciously. Someone else decides.

9. Fog – This passage talks about the veil made of tradition and conformity that covers all of us. This fog is so thick that, at times, one can hardly recognize the other. There is no longer any truth, everything is settled by agreement. There are no singularities and no exceptions. She speaks of a prophet about escaping from the betrayal of love. Of the falsehood that lies behind the relations of the facade, it is preserved only for laziness and for a pleasant sense of security.

10. Into the Clouds This passage talks about the ecstasy that new love brings to our lives. Everything takes on a new color, everything looks unified and harmonious. With the same lightness you can change directions and destiny. Motivated by the new love, everything is normal. There is still a thread of nostalgia and awareness, just enough to convince one to seize the moment of vital energy.

self production
Album version: April 29, 2022


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Biography

Carpets & Candles was born out of a four-story encounter in 2012. They are Marta, the dash and rhythmic pulse, Francesco encapsulating lively bass, Danielle Jack’s strength and instinct, and Andrea, a subtle wordplay.

Born as an alternative project for each component, it has grown over time to date, thanks to the passion and friendship of the four.

Daniel and Andrea meet hard rock guitars: Together they start creating new pieces. Even the meeting between Marta and Andrea takes place thanks to the music, on one of the many evenings between the bands. Together they made several dates between 2009 and 2010 mostly in local and provincial Milan. Finally they met Francesco on one of the many music evenings. Fate wants their guitarist to be absent and to be replaced by Francesco. Carpet and candles were born that evening.

Marta’s world consists of jazz, blues, rockabilly, rhythms and rhythms that just miss a word.

Francesco’s world is made up of deep passion, delay colors, frequencies, nu metal and post rock, resting softly on one another.

Daniel is a hard stone, pure primal instinct capable of serving unexpected delicacies.

Andrea’s world is the colors of the endless blues, of constant and constant struggle so that only one voice appears screaming in his head. Sometimes in confusion only silence remains and the music speaks, that which Daniel, Francesco and Marta know how to take, understand and recolor, to the ears of the listener, the possibility of joining their flow.

In 2018, they decided to enter the Bios Music recording studio in Solaro. Luca Liviero of Bios Production believes in the ideas of the four: they choose songs together, study them, and refine them to finish their debut album after two years of work. Their debut album, Fased Blood, is scheduled to be released on April 29, 2022.

Source: www.laltoparlante.it

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Arena di Verona 2022 starts again with Zucchero and Måneskin

With 14 passes from Sugar Fornaciari, the season begins again. A kiss, simple minds and a tutu are expected, among others

The 2021, The year the road to restarting the entertainment sector began after the health emergency saw us come to the fore Arena di Verona SRL Which achieved significant results for the season of live and television events in Verona Arena, not only for the Coliseum and the city, but at the national level. Appeal to the authorities in May 2021 from Federico SpuarinaMayor of Verona and President of the Arena Foundation, with Gianmarco MaziCEO of Arena di Verona Srl and Artistic Director of Arena Live and TV Events, He made the Veronese amphitheater the only venue for events in Italy with a capacity of 6000 people: “This summer the Arena and Verona were in the center of national attention – confirms it spuarina mayorOnly here we were able to carry out dozens of events with 6000 spectators in complete safety, applying a strict sanitary protocol. This year Verona also faced the difficult situation that continues with speed, determination and passion. The 2021 live and television events were conducted with a confident image of the city in Italy and in the world.”
“The year 2021 was full of great morbidity. By running the circuit, we have run Verona as well as Italy. and now – Announces Gianmarco Mazi We are quickly throwing ourselves into 2022 at 100 per 100 new births.”

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Coachella, Manskin’s success and Damiano’s screams for Ukraine

A season that underlined the centrality of Verona Arena as the temple of music in Italy, with more than 300 artists performing on stage for live broadcasts and TV shows including unique concerts, TV events and live schedules.

More than 27 million viewers have watched the TV events from the Arena di Verona in Italy alone, in just under four months: a huge number of people have been able, thanks to the broadcast of the shows from the Arena, to watch and appreciate the included, greatly increasing the potential of Verona Promotional. Just thinking about the wonderful opening of the 2021 season of Verona Arena with concert Il Volo – Tribute to Ennio Morricone Live broadcast on Rai 1. Or on the first two evenings, always on Rai 1 Arena ’60 ’70 ’80 presented by Amadeus, for the first time the conductor of the Arena, in his hometown, Verona. And how can we forget those wonderful musical events that are part of the Verona Arena summer: Power Hits Summer 2021 (August 31) and the 2021 Music Awards (September 8, 9, and 10). But also for the extraordinary initiative of the Arena di Verona Srl that brought La Grande Opera to the Verona Arena which Pippo Baudo and Antonio Di Bella told three times in a few days prime time on Rai 3, a series of special appointments with the great opera for the first time belonging to The same season of the opera is broadcast in a dedicated television review. The season ended on September 30 with the 30-Year Concert Marco MasiniBut he saw many appointments. Important anniversaries related events such as 10-year career whatever (June 6 and 7), career 25 years Carmen Consoli (August 25), 50-year career Jerry Kalla With the show “Happy Birthday, Jerry!” and 40 years since the release of the album La voce del padrone di Franco Batiatowho passed away last May and was immediately honored by Verona Arena with a tribute concert entitled “Invitation to Travel” (September 21) in which 55 artists participated.

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Zucchero in concert at Verona Arena from April 25: lineup

Also this year, artists significant in musical and cultural life were awarded the official Diva – Arena di Verona, the original and digitized sculptural Verona Arena (a female figure crowning her head with the square) born from an idea by Gian Marco Mazzi and created by Maestro Rudi Camata. The prize was awarded, among others, to Amadeus, Andrea Bocelli, Claudio Baglioni, Diodato, Il Volo, Emma, ​​Carmen Consoli. On the occasion of the 2021 Music Awards, during which the precious statue was handed on stage to nine artists, a large copy of the Diva was placed right in front of the Verona Arena, in Piazza Bra, as happens in the main theaters of the World Cup. For a few days, Veronese and travelers were able to admire the large statue (more than six meters high) that dominates the square and square. ARENA DI VERONA SRL is already working on another great season for 2022! It will be programming that, in addition to Sugar Which opens with 14 dates, I manskin and other Italian artists, finally re-embracing the great international artists, many of whom chose the inscribed as the only history in Italy: among these Nick Kav, Gorillas, Kiss, Toto, Scorpion. The arena will also be one of the stops on international tours in simple minds and the gods Minskin. no.There will be no TV events with great guests!

Then the second edition of ARENA ’60 ’70 ’80 was announced, a journey through the history of music and songs imprinted in the collective memory. After the resounding success of the first edition on Rai 1, in fact, by popular demand, Arena ’60 ’70 ’80 will return on September 12 and 14, 2022 at Arena di Verona, once again with Amadeus. Presale is available on Ticketone.

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Beatrice Fenzi: “A beauty? problem. I hit the violinist who attacked me in a fit of hysteria.”



“I’m the crying type, yes. When things go wrong at first, I’m frustrated, shedding tears for three days. But then I start again: when they refused to accept me at the Giuseppe Verdi Conservatory in Milan, I said to myself for the first time: Beatrice, well, Wait a year, get ready, you know there are only two or three places in the leadership class. Do your best and…”



“Passion must have played a bad joke with me. A second time. I may not have been ready for what the commission expected, it was a matter of maturity. Having to wait another year was hard.”

Beatrice Fenzi would also have been rejected, and wept, and would have waited. But at twenty-five he was the youngest captain in Italy. And also the most envious and exposed in the media.

“You pay for the show, especially if you go to San Remo: a lot of appearances but also a lot of criticism when the question arose that I wanted to be a director and not a director, as well as sexual remarks. But above all, because you decided to participate in such a “pop” program: they put you on the cross for life because you “polluted” the purity of high music. I see a lot of evil and a lot of ill will.”

When did you first encounter the problem of gender difference?

“I was studying with maestro Piero Belogi, an incredible human figure. Once, after a lesson, we were alone: ​​he never touched on the issue of gender difference. I’m calmed by the idea that there is no difference, and I’ve never asked myself the problem of no output. He told me that he had spoken to one of his sons, who was engaged in circus arts, who asked him if female hands could be more expressive than men’s hands in direction. A defining moment in shaping Salama.

Then he slapped us in the face.

“Actually, at the Verdi Conservatory in Milan they didn’t give me the same opportunities they gave the males. It was a continuation of sexual jokes, even in Accademia Chigiana. Things like ‘She’s a woman, what do you want me to do?’ Or point out that I can’t wear women’s clothes. “As if I should look like a man. I think it’s a will to make little copies of their students’ teachers.”

“It is the difference between a teacher and a teacher: a teacher is the one who gives you the possibility to express who you are. But there were no supermodels to refer to, even if it was only body posture. Because the differences in the body between men and women affect the direction.”

Your first time on the podium?

“He is twenty-two years old and has a lot of emotions. Even if this “magical calm of the platform” enveloped me as soon as I started. It’s something I still can’t explain today: Whatever anxiety you’re feeling, it always stays in the locker room. I was in Lucca, in the Basilica of San Giovanni, get out Eroica. In name and in fact.

At that time, did the problem of being a “director and woman” that then accompanied you in your career really arose?

“I think it was the only time I didn’t feel rejected looking at me. Perhaps precisely because I was surrounded by fellow countrymen.”

How was Beatrice as a child?

“I danced and hummed even in my swaddle. Or at least that’s what my family says.

Was she a child prodigy?

“A little girl moved awkwardly. But music, the expression of rhythm through the body, has been a part of me since childhood. First by dancing, then by playing the piano.”

What are your memories of the piano in the beginning?

“A vague picture of the little hands above the keys, as if to my eyes a secret was revealing only a little. However, this was not the instrument of my desires.”

“I felt like I wanted to start with something more rhythmic and primitive like a heartbeat, in fact I was fascinated by the gourd.”

Already in a cheeky “tribal” fierce era as we see it today in the thirties?

“Not at all: shy, introverted. Contrary to what it might seem now. I was fascinated by the language and the music not sticking to the words that categorize everything.”

Emotional communication.

“A trait I brought with me: In Avignon, the first clarinet came into the dressing room and told me he had lost two children, but thanks to people like me, he kept doing the job. And we embraced.”

sympathy. Despite a lot of mistrust.

As I often think of a lady from the Bolzano orchestra who got up from cello row, she stopped me in the aisle and said, ‘We were told she’s just a media personality and that’s why I was prejudiced against her. to change my mind”.

So the most difficult obstacles can be overcome. Now it is up to gender discrimination.

“I never got past that. But traveling and getting to know different cultures helped me. In France, nobody notices if I’m a man or a woman, only if I’m good or not orchestra chef. Point”.

To put it on Frankenstein Jr…

can be done. But you see the differences. With the Orchestra of Clermont-Ferrand in Auvergne and with the Orchestra of Avignon Provence, everything is funny and joking, but we work hard. In Italy, on the other hand, culture seems to develop only if you remain earnest, and woe to laughing or having fun. There is an idea that if you are not ‘boring’ enough then what you are doing is not serious”.

Italy has always been a step forward in the field of music, but are we still lagging behind socially and culturally?

“In the academic world they still refer to me as if I am a ‘commercial producer’ of entertainment and they stick their noses up. Like I’m a bluff by force, continuous ‘not enough’. It doesn’t happen abroad.”

The fact that she’s also very pretty probably doesn’t help… in overcoming some of my prejudices.

“Beauty is a problem. In people’s eyes it reads kind of like ‘I broke up, do you want to be ready and beautiful and successful?'” It’s a lot, you can’t.” To do that I must be more prepared than a male fellow.”

«In Cagliari, on my first appearance at a prestigious opera institution. This is a famous orchestra of high quality, but it is not so easy to obey, you have to beat it with sweat. And even the previous show there was not even an audience for fear of Covid. Then it was our turn and the crowd was full: it was the moment when I tasted victory for the first time. Especially after that, in the dressing room, with the musicians who came to me to say, “We can’t wait for you to come back with us.”

And when are you forced to go to battle?

“It happens with some of the first violins, those who dream of being leaders and can’t. I think back to the beginning of 2020, when a violinist by name, from an important band, addressed me in a condescending manner to say “Don’t worry, I think I’m a man and I’m older than you.” I can let him and stay calm, losing power. Or go to the counter. My vein blocked and I wanted to eat it. But he should never bypass the manager, authority is not shown by raising his voice. He kept calm while trying to provocatively make him mad: he got up and went away. I continued to work with others who came to apologize for him. I had brought the rest of the orchestra away from me, and sidelined the subject of harassment. He had a hysterical crisis, I’m a party.”

Is there only music in your life?

“I have a partner, Joanne, and we’re thinking about expanding. But keeping work and family together will be a challenge. Not all men are willing to accept that I’ve been away for long periods and no matter how open we are, some role reversals aren’t easy to accept. But I’ve been lucky.”

You can be a good mom and a good professional together.

“I’m still in my heart a singer during Manon Lescout At Goldoni in Livorno in 2017, he said to me: Beatrice, you will surely be a good mother, and you can see how she takes care of us and the orchestra.”

. Does Juan help her overcome all the obstacles she finds in her job?

“He knows the rites of the orchestra, deals with the economy, but has become a keen observer of the dynamics among the performers, and knows how to perceive the air inside the rooms. He says to me: We always start with, “But what does this want?” To switch to “She might be fine but she’s still a nice woman, so she’s no good” and ending with “Hold on, I’ve got hold of her.”

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25 April 2022 | 07:24

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List Actor: “Bye bye Greenwashing.”

He had to call himself End timebut you want to put with Good-bye? The original title was too grim, not in keeping with the song’s disastrous euphoric spirit, and there it is. Good-bye, As the most effective, they are “hands, feet, head, chest, heart, and ass.” What we all listened to, everyone sang, and everyone danced, even against our will. from Palermo Veronica Luccese And Dario Mangiaracinain art List representativeCollect the parts of the origin of the phrase that made it a viral phenomenon at the last minute sanremoheroes of hundreds of memes and even an alternate ending to was the hand Of God Paolo Sorrentinowho used the song on social media as the background for the last scene instead of Naples is by Pino Daniele.

With their tale of a world on the brinkthe end of the world (“What a fear, it’s the end of the world”), from a planet being destroyed and a “social vertigo” flooding cities, the list actor also created the first hymn Italian for the cause of the environment, the perfect soundtrack for appearances Friday for Italian futuresa movement Greta Thunberg. In the bubble, in February, cry CosmosThe guest list representative on the evening of the covers, the only one who released a political message from the festival: “Stop green washing!”. The reference was to .’s marketing campaign where are you, the main sponsor of the event, accused of processes that are built to make what is not green appear green. In Italy, Veronica and Dario are among the artists most seriously involved in the movements they engage with climate crisis, which we’ll hear a lot about on April 22nd on Earth Day. Ongoing political commitment led them to hold a concert on April 5 in support of Save the Children to help war-affected children in Ukraine.

Good-bye It combines a serious theme with a cheerful, light-hearted record and sound. How did you find it?
Dario: “On New Year’s Eve, a friend of ours wrote a wish list for next year and said among other things: Let’s hope that climate change isn’t what we’re witnessing, but rather what we want to happen. Not the bleak scenario but a positive ending. When faced with absurdities, there is Always two options: tell them disastrously or respond, clash hard with the problem, and seek transformation. We chose the second track musically as well.”

Veronica:Good-bye Close a circle that started with Mom, the book we wrote about a woman getting pregnant nine months before the end of the world. It was the secret dramaturgy of the record.”

How was the song born?
Veronica: “We recognized the potential of the famous phrase, but I wasn’t convinced by the song, I preferred another. And then, when you write a piece that you imagine will become something great, you have some fear: change fascinates you but at the same time frightens you.”

Dario: “We wrote it in the days of COP 26 in Milan, in the days when we were in the square with Friday for Future, immersed in the atmosphere of cheerful protest.”

Have you met Greta Thuberg?
Veronica: “We shook hands with her and said only one thing: thank you. She was having a snack and we didn’t want to bother her.”

Good-bye It’s an environmental anthem but many don’t get the meaning of the song, they only have the chorus and ballet in their minds.
Dario: “It seems natural to me. In the list actor bubble, you think you were obvious, you might also think that anyone who asks you for a picture knows very well how committed you are to the climate change front, but that’s clearly not the case. After all, 90 percent Who do the people at De Andre know gorilla for sexual innuendo, mouth of roses Because it’s a love song and Fisherman Because in C major. It works like this.”

Don’t you mind?
Veronica: “But no, that is something you have to deal with. These phrases have different levels of interpretation, and sometimes when something hits you on a superficial level, you can also glimpse the stratification of meaning.”

“Stop the green washing”, Cosmo shouted, onstage with you in Sanremo, against Eni. Was it an agreed gesture? How did it go?
Veronica: With Cosmo, Margherita Vicario and Ginevra (All three guest list representative on the covers evening, ed) We thought for a long time back in the days of a gesture to make at that point was so important to send a message, we felt responsible. Friday for Future and Greenpeace have written to us about the Eni marketing process.”

Dario: “At first we wanted to do something to tell the independent club-related scene, and then this Eni command came to the fore.”

Veronica: “For days we thought about a way to protest Eni’s greenwashing, but we were armored: It doesn’t say anywhere you can’t compete with the sponsor but we were in the race, the situation was delicate. Then Cosmo came up with the idea to bring the shriek into the music , then inserting it into the song. It was the best way.”

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