Desidia
Gotica e Lunatica

Administration of a Single-Response Entrance Test:

Q:- Can you imagine a world without music?           

A:- No

Q:- And a world without rock?                                              

A:- No

Q:- And a world without your favorite music?          

A:- No

It would be a world without light, without color, without warmth, without joy, lost in the solitude of the deepest outer space.

Music is curiosity, life is curiosity, those who lack it do not live.

You listen to new songs, new bands, always hungry in search of the original, new, never-heard (or little-known) band of the moment. However, you might encounter phrases like "Rock is dead," "We are at the rock's funeral," as happened in the late '80s-early '90s, a fact that struck everyone like a global explosion, under the banner of the Armageddon.

The impression we got pushed us even more to demonstrate and search for proof that rock was not dead at all. It went so well that today, retracing back in time, like a sort of prequel, we find ourselves with local bands that in the '90s were not dead at all, in fact, they were in excellent health. Just remember Garbo for Pop-rock, Faust'O and Diaframma for New-Wave, Estra and Desidia for Italian Alternative (and more): all artists not always easy to "obtain" in the music market.

In 1998, Desidia turned their backs on English and composed their first CD in Italian: "Gotica e Lunatica," eight tracks full of original atmospheres well defined by scores that transform and vary in intensity and color.

As is their habit, it's a "concept album" where diversity is the central theme around which revolve stories of drug addiction, madness (Il crimine di Alice), marginalization (Diamanti e Ossa), esotericism, and maybe a hint of Satanism (Mr Crowley, cited in Gabbia), illness (Taglia la testa al Serpente-Incredibile Tango) and so on. I grant myself and you a little curiosity: the title track will not be part of this album, it will be a bridge launched into the future, which will lay the pillars of a genuine and personal rock, up to their latest effort.

Rock, the visceral and passionate one, runs through all the songs and keeps them united in a sort of temporal passage between the past, present, and future. The future that is glimpsed, shows a band in cocoon, which already has the traces of that definitive and unmistakable DNA of the Turin band, composed of musicians of undeniable technical ability and extensive live experience.

Listening to the frontman's voice, we witness a personal challenge with the Italian language: those who claim that Italian doesn't "work" in rock are certainly "off-key" (in the broadest sense of the term). Those who pay attention will notice that the words take on an ease of interpretation, as if to say, they fully follow and conform to the rhythm now slow, now fast as if they were made of elastic material and this plasticity is highlighted precisely by the vocal modulation of the interpreter.

This particularly challenging work will be followed three years later by I racconti del fiore malato perhaps a true prelude to Imperfezione, but that's another story.

P.S. It doesn't bother me to be considered somewhat biased when talking about books I like and, if it's about music, about bands I like: it's natural! After all, those who are critics are always biased, but of another kind!

To put it like R.H.C.P.: "Music is my Airplane"... and you too Desidia!