Colle der fomento
Adversus

Although the writer was born when Simone and Massimo were releasing their first album, and despite the significant generational gap that separates me from them, after listening to Adversus, I've realized that Rap is not a genre for pimply teenagers in the midst of a hormonal Hiroshima, but an Art, mature and aware, and that chronological age is a biological factor, not a fault.

So, as an avid listener and connoisseur of a certain type of Italian rap, the release of Adversus on November 16, 2018, represented a necessary breath of fresh air for me. Without taking anything away from Trap and a whole range of different and, in my opinion, questionable trends and styles, an album like this, my friends, was needed! Period. Already with that initial whistle, it's as if the Colle invites us to listen, as if to say "Ao, bella regà, we're back. Are you ready?... This... is the story of a long war!..." "Story of a long war" is indeed the ideal, perfect start, for a perfect album (a small digression: I'm not being a sycophant: I gain nothing from it. I was just waiting for this album for years, and it arrived when I least expected it). Danno and Masito alternate at the microphone in perfect harmony, with precision and style, chills from the "sound-box effect" and words like blades. Well, welcome back. The second piece is something you don't expect, something so fresh and powerful that you ask yourself why such a track isn't played in clubs, and why there aren't clubs where this kind of music is played, and the labyrinth of thoughts engulfs you, while something in the background draws you in..."Yet I am here". A Club hit in Colle-style. Terrific! You're in. And the Colle tells you: "rap is competition, we're in, but we're not playing your game, the one you now manipulate... we play ours!". Today everyone is beautiful and groomed, all good, all virtuous... but also 'virtue' is just a word... "Nulla Virtus", rhymes like knife stabs, classic track, for an embittered awakening, for the school bus, for the pre-evening, in short, to listen to anywhere! We then arrive at "Noodles", an impressive response to all those who declared them dead, to those who tell us you always have to be on top of things, always ready, always in promotion. The refrain sounds like <>: I've been living, that's how it should sound for everyone. Music describes and reworks what life makes possible, or what happens to us. And he who stops is lost! Insane bomb. The same goes for "Lettere d'argento", an introspective piece to listen to absorbed in your thoughts, in paranoia, with a nice joint between your fingers. And we arrive at track 6, the so-called 'title track', perhaps the most emblematic: <> Two verses that will be and are a lesson, two bricks on those who 'write' to get into a label, a piece that is already a classic. Following is "Penso diverso": a genius track, heavy concepts on a 'modern', acid musical carpet, from an illegal party: this is, in my opinion, one of the tracks where Craim's skill stands out, silent maestro and more precious than ever. With "Sergio Leone" the atmosphere becomes boisterous, and to the verses we already knew by heart is added the jewel of Kaossone: the Good Old Boys take us to the old West, among saloons and shootouts, and with 'Cuore più cervello', the most hip hop track on the album, they allow themselves the self-celebratory bullet, to shoot at live shows, to stir up and get stirred up. So follows the final rundown: "Nostargia", "Miglia e promesse" (with another beautiful verse from Koas), the new version of "Musica e fumo", "Polvere" with Roy Paci's trumpet... poetry. Nothing to add to what is consigned to History. And with "Mempo" the circle closes, with that obsessive, haunting, wonderful whistle. The Colle for the future. Congratulations.