Golden Years: “The solutions of pop? Stantie. Let’s get out of the tracks”
«We should all make a little effort to get out of the tracks. The solutions begin to be stale. It seems to me that we try to do I don’t say everyone the same song, but almost. The paradigm is thus codified, that of the Sanremo song, which from a creative point of view has become a limit for everyone. It would be nice to listen to things done differently, “says Golden Years, a real name Pietro Paroletti. Romano, born in 1993, the musician in the last two years has imposed himself as one of the most launched producers of the new scene: there is his touch behind the songs of Coez and Frah Quintale, Psychologists, Franco126 and his flickers have also led him to work with Pop stars such as Noemi and Mahmood. Now Golden Years puts herself (already) on her own and does it with an album entitled “Fuori Menu”, in which she brought together friends such as Calcutta, Aries, all phenomena, the same Coez, Frah Quintale and Franco126. He came out last Friday and among references to the songwriting of the 70s, Funk and Disco represents a breath of fresh air, these days: “I titled it so because I wanted the title to recall the unexpected, the unexpected: the idea was to bring out the artists from their respective comfort zones to propose something unpublished”.
Meanwhile, a heart: the fact that as an art name you chose the title of a song by David Bowie is a coincidence or not?
“It is not. Four years ago I had to choose an art name for my project and I was in a hurry: that sounded well. I liked that the idea that it was a depersonalizing, generic name: it seemed more like a bandwidth, than as a soloist ».
What affinity does this name have with your project?
«None in particular. I was fascinated by the story of this song that Bowie had initially offered to Elvis Presley, but that the latter refused. Maybe if there is a link, it concerns the concept of the passage of time: there is nostalgia. As in my music ».
Why a manufacturer album? Aren’t you enough of being in the Italian pop buttons room?
«It is not that it is not enough for me, but I am having fun the idea of making a project of my own, thought of me from start to finish. I continue to think that my real job is to produce the work of others and I absolutely do not want my project to be replaced by that. But I wanted to try my hand at a record having full control, almost as an artistic director ».
How did the songs come about? Are they collected by the sessions made with the various artists for their records or did you compose them specifically for your album?
«They were thought precisely for the album. I had some instrumental bases in the archives, loops, laps of agreements. And a fairly clear idea of the final sound I wanted to arrive. We completed the songs together with the various guests, in my study in the Ostiense area in Rome. Others were born at the home of the artists with whom I composed them, as “feeling alone” with Calcutta, written in his apartment in Bologna “.
What was this final sound to which I west?
“The references look to the 70s, with organic tools, played, but all mixed with the samples. I wanted the songs to have a clear, not glossy sound, with all the distortions and dirty of the case ».
Did you redo yourself with something or someone in particular?
«Mostly to the Pop Cantiuto of those years. I think of Lucio Battisti, Enzo Carella, also in Pino d’Angiò and Pino Daniele. Especially in Pino Daniele, I feel like saying, of which I consumed the first four records. For “The apartment”, the song with Masamasa, I asked Gaetano Scognamiglio of the Fitness Forever to take care of the arrangement of the arches, giving him the songwriter of those years as a reference, who looked at the disc music, to the Bee Gees “.
From the first productions for Colombre to the hits of Noemi and Mahmood, your touch is starting to be increasingly requested. Aren’t you afraid that your sound can become inflated?
«I protect myself from that risk trying not to do everything. Selecting the proposals that come to me. I do the best when I work with serenity. If in a week I have to do four or five sessions with different people, I don’t work with serenity. And the quality drops. When you start working with the automatic driver, you lose the taste of doing things ».
