Måneskin
RUSH!

What Manuel Agnelli, their mentor, said is what should always be referenced when listening to their music. It's a necessary preamble to this review and serves to try to dispel the bitterness that surrounds them whenever they are discussed:

“Måneskin are a mainstream group, they have always wanted to be mainstream. The key to understanding Måneskin is their performative talent, their freshness, and the fact that they currently represent the contemporary. There's no point in the musical analysis of Måneskin, but it makes sense to understand the Måneskin phenomenon. Then one is free not to like them, but understanding them means understanding the language of today's youth.”

We know where and how they triumphed; it would be repetitive to cite the path that led them to a stage with the Rolling Stones, in a recording studio with Iggy Pop, and more recently with Tom Morello, or to being part of “If I Can Dream” in Baz Luhrmann's biopic on Elvis Presley's life. However, it's a duty of journalism to remember and highlight this before talking about their third work. “Rush!” can be considered a sort of debut, even if it's not a debut, since it's preceded by two full-lengths (Il ballo della vita and Teatro d’ira-Vol.I) and a handful of successful singles.

Is this the album of definitive consecration, or presumed so? It might be. Is it the initiation into the world of significant music, starting from an incredible base of approval? This is more probable. After listening to the four singles that anticipated the album's release, we could have gotten a vague idea of what the thirteen new tracks might contain. But as often happens in the music business, our certainties were disproven. If “Supermodel” and “Mammamia” are an anthem to “pop’n’roll” (not for this are they less valid), and “The Loneliest” falls into the category of clever radio-friendly ballads, “Gossip”, with the collaboration of Tom Morello (Rage Against the Machine, Audioslave, Prophets of Rage) immediately shifts attention to a more pure rock base.

The entire album does not shine for fantasy and variation in the riffs, often reoffering revisited solutions based on established foundations. However, the choice still works, and there are no shortage of interesting and somewhat mature ideas. After all, the sack of flour was already sufficient, and the valid production has surely brought in fantasy and flair. Something that in international rock has already been seen, and by saying it, we can evoke sacred and untouchable bands like AC/DC, who are well known in this regard (at the time, they were criticized by the musical press for it). Another aspect shared with the Australian band is the ironic and at times parodic character with which they play the bad boy figure, through humorous references to the trio “drugs, sex, and rock and roll” and the use of androgynous outfit, reminiscent of the late seventies glam rock. A good part of the singing is in English, and a small but significant part in Italian. I say significant, because the pieces in our language are the most reflective and introspective, at times delving into singing that is too serious and engaged. It's almost as if to make the listener understand that Italian music is far from shallow and minimalist lyrics and motifs. As if to demonstrate that Italian is there, but not unnecessarily, that we aren't just “O Sole Mio” or “L’Italiano”, even if a good part of the foreign audience won't bother translating Dante's language to deepen the contents. Let's talk then about “Mark Chapman” (a not-so-Italian title, referring to John Lennon's assassin), “La Fine”, and “Il Dono della Vita”, all three centered on the theme of success, its dark sides, its traps, and how it's right to feel indebted to those who made it possible, even if only by giving us life. This section (in my opinion, necessary, because it's part of the journey) is very valuable but discordant with the face given to the entire work, which wants to be ironic and suggestive (see references to drunkenness, cocaine, and sex) but also messy and fun. The more playful and caricatured references want to be implicit but obviously refer to the absurd accusations of dependency directed at the band and Damiano David during the Eurovision Song Contest held two years ago in Rotterdam and more generally are addressed to the haters (especially domestic) and their verbal aggressiveness. The swashbuckling side, winking at the Latin lover stereotype typical of the Belpaese, goes to integrate the image proposed during live performances, where one moves with incredible ease from pinstripe suits to latex, reaching leather and lace. Much to the congenital critics' dismay, who are allergic to flair.

“Gasoline” (the best one in my opinion) and “Feel” are the most technical and mature songs compositionally. The accusatory lyrics of the former immediately refer to Putin and the war he unleashed (the band has not withheld explicit criticisms in this regard); even without explicit references, “the powerful” and his wealth source are accused of having no respect for anyone (the theme of power slightly recalls “School of Rock”, ed.). The bass notes are engaging and I believe they will be interesting to hear live, like the whole piece. “Feel”, with the main riff, nods to the alternative rock of the White Stripes and a very famous particular piece, “Seven Nation Army” (does it remind you of someone or something?). The lyrics return to the irony mentioned before, with the background choral voice repeating: “Cocaine is on the table!”

The flip side of the coin is “Bla Bla Bla” and “Kool Kids”, which I think penalize the entire work quite a lot. The first is a kind of song with little lyrics (and apparently little sense) and many raw verses (intend as onomatopoeia). The second wants to be a bit pop punk, a bit funky but ends up being just annoyingly shouted (Damiano appears in a different and almost unrecognizable vocal guise). The desire to surprise the younger fans is understandable by whoever took the reins of the project, but here they overdo it. If on one hand, there is an attempt to give a chance, on the other hand, the skip button is pressed visibly annoyed.

“Don’t Wanna Sleep”, the opening “Own my Mind” and “Baby Said” are the most lively. They make us dance to the rhythm of rock and want to draw from the good side of the seventies. Slower but not less exciting in this sense are “Timezone”, “Read your Diary”, and the dreamlike ballad "If not For You", which allow us to catch our breath as they intersperse with the above-mentioned three.

Apart from my personal tastes, which remind me that when taking an album from the shelf we should never have a first visual impact with the band members, I find the cover partially detestable. A halfway point between a callback to Britney Spears' early discography and the memory of a day at the amusement park, it's almost unsuitable for a project like this. Irony is right (as Jovanotti says: "Il centro della terra sta sotto la gonna") and it's true that “rush” means hurry, but we must not forget that, despite everything, things have started to become serious.

In conclusion, I can say that I liked this album and at times quite a lot. Technique still needs work, but considering the average age of the members, it can be said that the level is already very good. It is a project designed at the table for a band that at this moment is on the rise and is breathing success with full lungs, therefore this aspect must be taken into account in our reading of the work. And this aspect shouldn't penalize the final judgment.

The Måneskin, among other things, have a great merit: they haven't denied their origins. And that's no small thing. One could have expected that with this album the Roman ensemble would have abandoned the Italian language, with the awareness of enjoying international consensus but also the certainty of facing fierce local criticism. But that was not the case.

They may not be liked; their music may not be liked but just the fact of having brought so much Italy to every corner of this ailing planet can only bring us pride.

And if for better or worse rock is being talked about to new generations, making its way through a thick web of light music, that's indeed very welcome.

We are Pavarotti, Il Volo, and Andrea Bocelli (even Toto Cutugno). Now we are also Måneskin, to speak about us to new generations. Without too many pretensions and with much serenity.