Madame: listening to “Disenchantment” makes you think of Madame Bovary

The disenchantment arises when what you thought could make you happy actually turns out to be a lie. Three years after his last album “L’amore”, Madame, 24 years old, returns with new music. He does it with “Disincanto”, the first piece out on Friday 13 March and part of a new path that will take shape on the self-titled album out April 17th. Listening to the song in preview comes spontaneously an association, more suggestive than declared: the one with Madame Bovarythe protagonist of Gustave Flaubert’s novel. Not because the piece quotes her directly, but because both, the literary figure and the singer-songwriter, seem to move in the same gesture of rupture: go beyond the instructions imposed by a certain company. They are not disillusioned heroines: they are restless women who go in search of a new freedom, as the video also suggests of the piece in which Madame interrupts the festive chatter of a table. The single opens with words that sound like a declaration: “I no longer live with instructions below, all I know I hope will abandon me”. It is the entry into a territory of disobedience.

Produced by that genius Biaswho worked on the entire recording project, together with Mr. Monkey (Matteo Novi) and Lester Nowhere (Arturo Fratini), with the contribution of Lorenzo Brosio, the song works above all as a gateway. It’s difficult to judge it definitively if not by imagining it within a broader framework, that of the album to come. Even the sound has a “preparatory” textureit doesn’t explode, it doesn’t overflow, it deliberately leaves the listeners hanging. At the launch of the album, Madame accompanied everything with a series of questions: “Why has it been three years? why stop right at the most beautiful thing? why close within yourself?“. The questions and doubts become a central narrative structure. The refrain, almost underground and lava, revolves around a precise image: “my eyes are swollen with my disenchantmentAnd immediately after comes the question: “and what’s left of me?”. She is therefore a Madame who returns to ask questions, in a historical moment in which everyone seems to have answers, mostly obvious ones.. And he is not afraid of the journey: “I’m no longer afraid”.

A comparison with life itself also emerges in the text. When he sings “life here I am” a distant echo of Carmelo Bene seems to resonate, of his famous almost conflictual relationship with existence, contained in the duel declaration “my life, to the two of us”. The piece ends with another suspended question: “How am I? I’m alone. Everyone has a way and I don’t”. Words that herald a transformationwhich are based on a production ethereal and floatingas if Madame’s voice was suspended in the void and dragged the listener into that same space. Some typical traits of his writing also return in this song: explicit, sensual fragments, in which eroticism is intertwined with romance and confession. “Disincanto” is thus a trailblazer single, it is the first pages of a novel of lifea first step into a planet yet to be explored. But from here we already understand one thing: Madame is back with one of her most recognizable qualities, that of questioning herself and us.