For art in general, describing the feelings is a constant
challenge that, we regret to say, is almost never successful.
The description of the topic that we are dealing with, which
is always very personal, can become either too banal or overly
dramatic, if not thorough.
In most cases, the drug is considered too much or too highlighted
given its inevitable cause and effect on any person who was
the victim of this unfortunate traumatic substance.
Among the various arts only music can, and not always, rebalance
and re-create those deep moods that make strong any real feeling,
as long as the composer who is currently dealing with these
sensitive topics, is a great Maestro, or as in our case, a collection
of great masters, among which stands out the name of Ennio Morricone.
The music, if it is well conceived, well-orchestrated and well
done, touching those strings that are secretly hidden, enables
to revive feelings that are deeply hidden and personal, projecting
the listener on an ever-changing sensory world.
If the same authors who have composed the music also play it,
the result is extremely positive because they give us back full
musically their own feelings so processed and amplified.
One of the most thorny and sensitive issues that engage and
disrupt our society is undoubtedly that of the drug and those
using it.
To create artistically and musically this distressing subject
is a hazard few musicians have been challenging themselves directly.
The group of masters of La Nuova Consonanza is committed not
only in this rough and dangerous topic, but they explored it
, musically highlighting the difference between a substance
and the other, arguing the lifestyles to which social drug reference.
The first ominous song Warum (Why in German), tells us that
the teachers have asked themselves what is the trigger that
has a pressing need of the drugs and they immediately understood
that the main cause is a request for help, musically well-evidenced
by the trumpet played by Maestro Morricone that imitates to
perfection a strangled cry accompanied by a slow background
of drums and distorted guitar, while other instruments are
involved in sporadically emphasizing a state of constant discomfort.
Then, the rhythm suddenly becomes insistent, almost bad, as
if anger had reached its climax and something inside finally
broke and then back to the same initial state of mind.
In Raptus the music gives a pulse of high intensity leading
to a state of anxiety and it portrays a state of mind where
you feel a momentary loss of ability to understand and a compressed
violence ready to explode.
Percussion instruments, membranophones and idiophones, are
used to describe the song Aghi.
The extreme use of timbre and sound capabilities of these
tools and their wise overlap do not make us regret the absence
of traditional acoustic, electric or electronic instruments,
and it emphasizes the aspect of cold metal needles that inject
the drugs into the human body.
During the mega concerts of the sixties and seventies, which
lasted for days and days, the most used drug was hashish,
because it was cheap and this drug flowed among the youth.
La Nuova Consonanza recreated in Hashish moments and feelings
that a boy of that time felt under the influence of drugs.
A base made up of drums and electric bass accompanies small
interventions of a spinet plucked with the fingers which reproduces
distorted yet catchy themes.
In the central part a melancholy flute is accompanied by an
electric guitar and a bass that fade at the end of the song.
Eroina, Metedrina e Oppio are similar songs that show, in
a purely imaginary way, the more or less heavy effect on the
human being that these drugs cause and in these songs every
Master has highlighted its interpretive skills by playing
his personal instrument. |
