CCCP the convincing return from the past to the present

CCCP Faithful to the line at Carroponte: how to hear a concert and NOT see it.

It hasn't happened often in the years of concerts in the structure on the outskirts of Milan to see such a gathering at the Carroponte. But the forecasts were rosy. The concert had arrived there, a much larger location, after the “move” from Magnolia where it was initially scheduled. So first and not last surprise: the size of the audience.

Second surprise: the demographics of the audience. It was conceivable to come across an army of veterans, of sixty-year-olds and over, in search of memories, of a youth spent listening to Ferretti declaim, Zamboni's grated guitars, to remember the elegance (however unchanged) of Annarella and the prowess Fatur physics. Well whoever thought this (including the reporter) was greatly and pleasantly surprised. The audience was of a decidedly lower age than expected, they could have been the children of “veterans” (the latter were a clear minority) or a generation in between. As far as I could tell, the majority were 30/35 year olds (there was also a newborn and a pregnant woman). And it was not a public audience “by chance”, but experts on the subject and passionate (accompanying) singers.

Therefore a clear demonstration that CCCP are a band rooted in the history of music, which has been able to overcome barriers and generational mutations outside the pop canons, even beyond the generation that the band experienced live. With such a parterre, therefore, nostalgia was definitely banished and the band for its part ensured that this feeling did not resurface even for a moment.

By remaining faithful to the line, CCCP have been able to make their sound, their music suitable for the times, they have “modernised” with respect for the origins what could no longer be sustainable today. On the other hand, Ferretti and his associates have demonstrated that certain themes are felt and experienced yesterday as today. Just think of the uncertainty, the emptiness of the province sung in “Emilia paranoid” or to the pain of living (without bothering Montale) of “I am fine” (I'm good, I'm bad/I don't know where to be/I'm good, I'm bad/I don't know what to do).

But not only this, because Ferretti on several occasions (“Emilia paranoid”, “Radio Kabul” And “Heal me”) adds some “bars” that point directly to current events, with references (above the parts) to ongoing conflicts. And what about the current affairs of “War and peace” done in two voices between Ferretti and Annarella? Or of the concept “consume produce crack” (from “Die”) sung at the top of their lungs by the audience.

Then there is the sound. At the time, CCCP were also famous for having, after a short time (and for various reasons), reduced their lineup by inserting electronic rhythms played by a drum machine. Today, when the use of non-instrumentation is customary, they fill the stage with a real and pulsating band with “physical” rhythm and presence. And then Zamboni's guitars no longer “grate” (only in some cases but less scratchy and stinging), but refer to a modern indie sound. It is a conceptually significant but definitely significant variation. In essence it is yes a return but not “lowered” in the same way in a different context. In this case the risk would have been that of ridicule, also in light of the political and social conditions of the context as well as the human and political paths taken by the different members of the band. Perhaps the recovery work that Zamboni has developed in the company of has contributed to this journey between past and present Angela Baraldi.

Then there are Ferretti's songs and singing. The latter is very similar to himself, a little chanting, a little monotonous, sometimes enveloping, sometimes angry, furious. Giovanni Lindo and Massimo adapted well to each other's needs: musical and lyrical. And that marriage still works well today. The two were able to write beautiful pages, which have the title of “Paranoid Emilia” “Shoot Jurj”,”Heal me”, “I am fine”, “You love me?”, “Annarella”, “Loving you”, “Alarm” or the extremisms of the couple formed by “States of agitation” (performed complete with violin), “Free me Domine”. All songs loved by the public, sung and participated in.

One of the prerogatives of the CCCP was to unite geographically but not politically distant lands such as CCCP and the “red Emilia”. To do this, Zamboni Ferretti started from two musical and also iconographic extremes: the punk of Berlin and the smooth/waltz of their Reggio (an operation carried out well before Extraliscio) all covered by a (all attached) Russian sauce. And so on a couple of occasions they renew these vows with people dancing as if they were in a dance hall in old East Berlin.

Seeing CCCP return could make you feel a “stink” of nostalgia, a forced revival of something that was unrepeatable (and this aspect certainly remains) and not replicable today (this is also undeniable given the current conditions and personal metamorphoses). Yet you don't seem to see this feeling, this “nostalgic” dip. The Zamboni Ferretti couple finds harmony again (which in reality was there at the time of CCCP having broken up later), Ferretti puts aside his present and takes up again (and perhaps even comes to terms with it) the past (which contained the seeds of present). Everyone plays their part but they do it now, today, perhaps looking with nostalgia at what they were but without this state weighing on the public and on their proposal which at times almost seems to be “dirty” with irony.

Pleasant.

Ladder

Caspian depression
Rozzemilia
You lie
For me I know
Die
States of agitation
Free me Domine
Mother
Maciste Against Everyone
Oh! Battler
Valium Tavor Serenase
Radio Kabul
Punk Islam
And the radio plays
War and Peace (Voice of Annarella and Ferretti)
CCCP
Heal me
Paranoid Emilia
Bang Bang (My Baby Shot Me Down) (Cher cover) (Italian version by Dalida)
Shoot Yurij
Vote Fatur (Fatur voice)
Reclame (the band presented by Annarella)
Annarella (Acoustics)
You love me ?
I am fine
Alarm
Kebabträume (Deutsch Amerikanische Freundschaft cover) (Sings Zamboni)
Loving you