Faust'O
J'accuse...Amore mio

1980… and the grayness and certain unease also permeated music, an expression of life.
Distorted guitars, soft words, decadent poetry: "J’ accuse… Amore Mio. Ehy ehy ehy… Little Souls and their many known faces united by their violent end, Sharon Tate, Marylin, Socrate, Silvia Plath, Jesus Christ... what I want are little souls”.
"But how can death not be violent, for you and for those around you? What nonsense.... And that sentence that echoes in my head: “every reaction requires a doubt and you have none, your life never trembles...” ; it seems that Faust’ O becomes the spokesperson for a real generation that constantly lives in the company of doubt, impossible for the “grown-ups”.

And indeed, what is said about the '80s is not far from the words of the Friulian artist, for example, in the following “Retroattività”: “I have no goal/ just an idea/ strange balance/ N.A.T.O. Warzawa Pact.... ” , “tense nerves/ empty rooms/ I sleep and never rest...” , “ ...I eat and never gain weight”. Then the madness of “Disaster”: “life is a nervous taste and it doesn’t matter who you are...” , “...Pere Ubu or Margaret Thatcher that’ s the fact! You know that’ s the fact!”, too schizophrenic to comment, just listen and go wild if possible.

Then the ethereal “Hotel Plaza” with delicate words like: “the days spent slowly, uncertain steps in the rooms, the heart is an intermittent doubt, so sweet for us inside these mirrors”; and certain atmospheres of rupture, dark and screaming that stay with you: “your tranquility the strength you do not have, I would like to tear a scream from you and take you away, your immobility the anger you do not have, crushed in these mirrors is madness, a metafilm” ; or again phrases of decadent taste: “hotel plaza, I love your flowers like neurasthenias, hotel plaza the cold and oblique hands in mine...”. Great.

After the funky “Michael Michael” (you’ re bloody drunk) the icy atmospheres of “Buon Anno” take us into one of Faust’O's most touching and intense poems: “the war is on the other radio and has been there for many years now, people waiting at the windows and the days never pass/ ever colder circles in the winter panic, the voice gaps grow and I have already been wounded in love... ” “doors and open nerves and a voice saying goodbye, I sit for a moment happy new year my love” , “it’s not my fault it’s not my fault, the crash of life is like a flash on the screen, it’s not my fault it’s not my fault, don’t you see how everything arrives always too late for us...” and I would continue indefinitely.

The pressing “Capricorn” would have deserved better arrangement, however, it is not to be discarded and it moves on themes of misunderstanding, incompatibility between the protagonist and his beloved: “I would like to give you life and this my melancholy, love you and not burn everything you give me, time is my defeat and you will not understand, a distant planet that you will never understand” . In closing, traces of life, madness, and resignation and perhaps a hint of hope. “Non Mi Pettino Mai” what is it? A lifestyle, the problems with the record company that demanded a certain kind of Faust’ O, an anthem for many to sing at the top of their lungs maybe in the car, at full volume, in line or on the run looking into the eyes of the dance music thugs or certain musical frivolities better left undefined.

More madness, “Non Vendere I Nostri Sogni”, oblique, quirky, crooked, unique. Faust’ O gives his best in terms of expression and various schizophrenias: “Phnom-Phen incident!! Sense of guilt complicity, slanted trace watch out!! Extreme limits necessity”. Hallucinated.
A return to normality with “Forse Anche Noi... ”, a sort of will, a conscious and extreme look at reality, is the ultimate example of existential spleen ever reached. Until now! Alienation, ambiguity, underlying weakness, a city that does not satisfy and that you would like to see fall, love, still an honor, love like a glass that cuts the heart, people always defeated, people in a modern world, the hope that the city may finally fall forever flooded by a river "that advances swells and overwhelms everything and wins for us” .

People like Faust’O. “J’ accuse... Amore Mio” is an absolutely extreme record in its lyrics and indispensable for all lovers of the sickest and most poetic New Wave.
The last act of the very first phase of his career made of defiant punk irony and the last seal of the trilogy published by CGD, after “Suicidio” and “Poco Zucchero”. Legendary, moreover, the cover with the artist posing. One who never combed his hair and still doesn’t today.