Il Teatro Degli Orrori
Il Mondo Nuovo

Statement of intent: I will dedicate only a few lines to the album's form and sound, preferring to focus on the message I perceived.

The sound is compact and vehement, yet at the same time it turns out to be much more melodic than in previous works. I believe some songs, in particular, can be counted among the best ever composed by the group (I think of "Doris," "Martino," or "Cuore d'oceano"). Capovilla is even more verbose than before, but fortunately, he is supported in his grandiloquence by a ductile and ever-changing sonic architecture.

Those who say it is a long, heavy, and indigestible album are probably right. However, I see this as a carefully considered conceptual choice by TDO: in an era of iPod Shuffle, quick guides, and bite-sized culture, they remind us—perhaps with a bit of naivety—that Ejsenzstein or Tolstoj also exist. Paradoxically, the best way to appreciate this album is drop by drop, a few songs that particularly touch you when anger or impotence rises.

Switching to the message: it hits like a punch to the face—the anguished loss of certainties, the ideological shipwreck of a generation with neither Gramsci nor Mayakovsky to dedicate themselves to, lost in an ocean of stimuli, alienated by sirens that only want us to drown. Capovilla's words barely conceal the anxiety of seeing the postmodern social system burn, with all its structures based on inequality among (presumed) equals and its contradictions.

The album is supposed to be a concept about the migrant, only that migration is transliterated into a tension towards the search for one's dimension of life, towards the search for one's personal equilibrium. It is clear that there is no escape from everyday living without a break in the patterns, just like the migrant who, however, ends up finding only more frustration and disillusionment. There are no cures, no solution is offered, just a desperate cry.

On one side, there's the unsustainability of the present, on the other the absolute lack of intellectual supports and theoretical frameworks that can help build the future, in the middle there's only faith in humankind.

This is the message I see. Just as during the Renaissance there was a need to bring man back to the center of the universe, so this album exudes Humanism, anxiety for brotherhood and internationalism (probably of an anarchist mold).

The whole world is Skopje.