Giorgieness and the new album: “It’s dedicated to Jack Antonoff”
In the last three yearsmany things have happened since the release of his previous album “Mostri”, all kinds of things have happened for Giorgieness. The singer-songwriter, born Giorgia D’Eraclea, born in 1991, he then collected and put together the pieces of experiences, broken hearts and realizations to shape a new studio album. The new work, released on November 1st, is titled, not surprisingly, “Giorgieness and broken hearts“, and was created with the support of the MIC and SIAE as part of the “Per Chi Crea” program project.
“In turmoil“: this is how Giorgieness describes herself when we reach her via Zoom. With her long mane of now very blonde hair, to present her new album, the singer-songwriter tells Rockol: “I wanted a breakout album and the timing in my life has never been so perfect“. He adds: “In the last three years many things happenedbut just a lot. Two moves, several changes, and the beginning of a journey of psychological therapywhich was certainly fundamental in being able to write an album like ‘Giorgieness ei hearts broken’. Let’s say that in these three years I took the opportunity to get to know myself a little betterto listen to myself, to understand how I feel about the world and how many of the beliefs about myself were wrong.
Furthermore, in addition to .review the idea of friendship as a type of relationship, I experienced a very all-encompassing love story“. He continues: “It emerges from the new album also an expressive urgencyon a genre level, which I had missed a bit. It’s as if in the previous two albums I had focused on the lyrics on the one hand and on not doing things I didn’t like on the other. However, without being able, in my opinion, to get close to what I really liked, even a little against everyone and everything.
“Giorgieness and the broken hearts” is therefore an album that definitely addresses the end of a relationshipbut also a moment when at thirty you feel the need to grow up and become self-aware. “I chose a deliberately very simple language and also a tone of voice, in quotation marks, fun”, explains Giorgieness, recounting the thoughts and experiences that he decided to include in the new album: “Apart from some songs, in the majority I tried to lighten upbecause an aspect of me that in my opinion has never reached others well is my side between the cynical and the dick.” He continues: “Anyway, yes, we can say that it is a breakup album, even if in my vision of things it is plus one anthropological treatise on modern relationships“.
The imagery of adolescence in the 2000s, with references to Bridget Jones, Grease and Sex And The City, build the aesthetic around which “Giorgieness and the Broken Hearts” takes shape visually, while the sounds and atmospheres of the songs embrace the personality of the singer-songwriter: “This record allowed me to choose a style that represents me: This pop, glittery and blonde – very blond – allowed me, in my opinion, to truly be myself and to tell even the most painful sides of my experiences”.
Giorgieness’ fourth studio album comes to define a new chapter in his careerfrom the point of view of intentions. Thinking about the past, from “The right distance” (2017) and “We are all tired” (2021 up to the previous “Mostri” (2024), singles and songs with direct tones come to mind, with bass, guitar and drums in the foreground piano to accompany an incisive vocality with “Giorgieness ei cuore franti”. you find yourself listening to more elaborate productionsas in the song “Cuori franti” full of electronic elements, while “Cazzate” is based on a guitar riff that recalls Taylor Swift’s “We are never ever getting back together”.
“I really want it to be written, in huge letters, that this album is dedicated to Jack Antonoffbecause it is the cause of, and the solution to, every problem I have ever had in any situation, especially in the making of this album”, narrates Giorgieness to answer the question about what were the inspirations and the listening that accompanied it and that she wanted to include in making the new album. She continues: “Without hiding myself, I can definitely say that Taylor Swift was a great source of inspirationalready from “Monsters” it was: I made peace with myself and, above all thanks to the release of some of his recent albums such as ‘Folklore’ and ‘Evermore’, I understood that I can like it without feeling at fault.
.She was therefore fundamental, as is her path. In addition to her, other artists have taken a special place in my listening, such as St. Vincent and Lordeup to more recent names com Sabrina Carpenter And Chappell Roan. And in the end I understood that Jack Antonoff was always behind these listenings. And at a certain point I said to myself: ‘Okay, here is my greatest inspiration, my influence’. I could get lost for hours watching videos while he works.” He then underlines: “I listen to very few Italian artists, but during the creation of the new album, in particular in the first part of writing, I listened to Giovanni Truppi a lot. Then Phoebe Bridgers and Lizzy McAlpine. So let’s say: initially more acoustic things and something more pop.”
For Giorgieness, in the making of “Giorgieness and the Broken Hearts”, his Jack Antonoffs were Alessandro Di Sciullo And Ramiro Levy of Selton. “I had already worked with Ramiro and I am very happy that we continued to work together”, explains the musician originally from Sondrio: “Alessandro was a fundamental figure: I also let him enter into something that I find very private, in which I don’t I Never Let Anyone In: The Lyrics”. He adds: “Furthermore, I myself also appear among the producers and I’m very happy: without taking anything away from them, which are fundamental, but it’s a great satisfaction to be able to put my signature on the other side in some way too.” The singer-songwriter was also able to count on the support of Alberto Cipolla and Domiziano Luisetti for the arrangements of his new project: “MI’m pleased to return a little to the old concept of Giorgieness as a band, though they never existed,” he laughs Georgeness: “At the end of the day they are my team, they are the people I trust and if I didn’t trust them it would be a big problem.”
Arrived at the fourth studio album with “Giorgieness and broken hearts”, where do you feel in your career? “On the one hand, I don’t think I’ve ever felt like this: myself in music”, says the musician: “Finally I don’t hate listening to the things I do again“.That’s why I really think I’m the most satisfied person in the world.” And again: “On the other hand I would be hypocritical if I said that I am at the moment where I believe in discography and music. I believe in people, I believe that sooner or later it will happen like in the nineties, a Kurt Cobain will arrive, someone who will have the means and the possibilities, together with the talent to sweep away the rest.”
Among the songs on the album we go through the end of a love and the meaning of relating to others as in “Viziata”, but also of the sense of always having to prove something in “They say about me” or of having to not care about everything and all to try to be happy, as in “Mom”. “Giorgieness and broken hearts” also includes the song “Very quietly”, released as a single on November 25th for the International Day for the Elimination of Violence against Women, and the song “Not one less” which takes its title from the feminist and transfeminist movement that fights against all forms of gender violence.
Q.What is the role of a musician, a woman, a singer-songwriter, in making her voice heard on these issues? “I think there are two answers to this question,” says Giorgieness: “The first is the fact that representation is the most powerful thing we have“. He added: “Regardless of what you choose to say, must have awareness of the fact that you are representing something and it is not about you. This is something much bigger than you. Simply speaking, the fact of being able to say today I don’t know how many female singer-songwriters there are in Italy is beautiful. If I think back a little further, in a period in which sexism in music was not spoken strongly about, there was a problem with women musicians in Italy.” He continues: “DOn the one hand, I believe that it is important to do this work conscientiously, to choose the messages to send or not to send. Furthermore, there is a more personal question. In me feminist thought entered with great enthusiasm at the beginning, then with much reflection and study. Now I experience it in a more personal way.”
