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first part here
What about your current music formations?
In 2007, I have bought and learned to play the double bass. Is’s an instrument so different from the bass, that during the first week I wanted to sell it back. A very physical and large, instrument that you have to be totally enveloped in it. This choice has changed the dynamic of the groups in which I played. From that, a group like The Wholly Cats was born. The Wholly Cats was an unusual mini swing orchestra, with two guitars filling the fact that in the group there were only two winds. It was an eight years’ experience with Federica Pilloni’s voice, one of the ex-Metanolo members like Alessandro Viola as drummer, Paolo Pili and Stefano Duca as guitarists, Danilo Atzori and Marco Orrù as saxophonists. I went with Alberto Sanna and Patrick Atzori in the current musical formation called Lady F. and the Stout Bro picking from the 50s and 60s’s rhythm and blues and soul, but doing them as ours, with some The Wholly Cats’s members and with the introduction of Paolo Demontis from Salvatore Amara’s group and Corrado Cuboni from the Insensible Eggs. We are at our beginnings, in the assembly stage and musical knowledge. I have also a triplet, the Double Couff, with Alessio Scano of The Stunfers and Pietro Stajano of the Wheelers.
What can you say about your pictorial art?
First, my art is a visceral need that was born during my school ages. The first major event was, however, in 2003 with my first exhibition and the first work requests. I have started to collect all my masterpieces, taking seriously the artistic theme. In 2013, then, after finishing my previous work, I decided to open this bottega where I can create, show and sell all my works. I follow two former points, a musical one and a sardinian culture, that I call Tradinnovatzione, full of ethnic and ethic symbolism. Where, in addition to material recycling, there is an important point to consider, as the aspect of consciosness, (s’arti de sa cuscenzia), that is the belonging to a group of people with a millennial culture, still unknown to both the visitors and the Sardinian himself. My mission is to tell this story to all of them. Its meaning, with colors and production style. An art critic has defined it as “sensorial images that brush against smell, taste, touch, hearing, beyond the sight one.”
Now we can close with a generic and thorny question about the relationship between people and music in Sardinia: how do you see this relationship?
It’s a theme particularly relevant to me and in which I have a personal opinion. Sardinian, and particularly countries like ours, are places quite complicated from a social point of view. Live music, and generally the art, unfortunately attract always only a few group of people and ultimately there’s a low interest on it. In the case of niche music, the problemi is, personally, even more evident than others. There’s no renewal, a generational change: therefore, all that I see is that at concerts, even in Cagliari, we’re always the same group for years, a small group of people, no more young. You no longer see a eighteen-years-old young among the public.
So, in your opinion, what should someone do?
It’s a complicated answer. There’s no accurate formula. Surely, you have to resist and keep doing. Young people, and not only them, are very much absorbed from technology: it’s too easy, world’s interests are changed, and I don’t talk only about concerts, but also for a beer outfit. So, music, and generally the art, have lost interest in the new generations.
I don’t totally agree with you, even though I am aware of the level of criticality: there are farther genres from your rock and roll style and also from my way of listening to music. Like rap music, or also others music genres. An example, in my opinion, is Salmo’s success.
It’s not a speech of genres, I like Salmo, but it’s an ideals’ speech. We had ours, we wanted to change our world in a better way, we didn’t want to be only simple, but suffering, listeners, but we wanted and still want to be the main characters of this change. Now, it’s all an useless use of the technological instruments, which as a great tool invented is becoming an harmful invasive one, deleting the desire of “being” who we really are in the youngers people. There are no more visceral passions, but only fleeting decontextualized listenings, sometimes recognized as useless. Wake up, youngsters!
Translated by Daniela Schirru
All pictures own to the authors