I Hate My Village: “The creative spark? It comes from mistakes”
“Nevermind The Tempo” by I Hate My Villageis a meteorite on Earth, is the album that marks the return of the super band made up of four absolute protagonists of our “different” music: Adriano Viterbini (Bud Spencer Blues Explosion), Fabio Rondanini (Caliber 35, Afterhours), Marco Fasolo (Jennifer Gentle) e Alberto Ferrari (Verdena). The group was born in 2018 out of love for African music, discussed in this chapter the rhythm remains, the dancing skeleton, but on which the formation went to create an anarchic soundcrooked, distorted and visionary.
“We chose to publish 'Water Tanks' as the first single precisely because it feels like it's us, but at the same time there is something different and surprising, something free – says Rondanini – we're bored with a lot of today's music, there's no research. We liked the idea of starting from mistakes, it is from mistakes that the creative spark arose that gave life to this hybrid project. The first album was born in a totally instrumental way with Alberto's voice being inserted later. Not this time: some songs were born from the voice or from some melodic lines and perhaps this is why it also has more 'open' parts”. But beware of thinking that it is a deliberately extravagant album or that it wants to speak to an elite. “There are no plans or strategies, it all came out naturally, we weren't interested in the idea of making an 'experimental' record…”, underlines Rondanini. Once again it is a freedom without limits, a long musical gallop without borders, that acts as the common thread. “If we had wanted to make an Afrobeat record and that was it it would have been a prison, we have never been a genre band – continues Viterbini – we are four Italian musicians with their own visions who make some sonic choices without asking themselves why. Our generation no longer has teachers, so perhaps it is right to take on the responsibility of achieving something that can excite an intelligent audience. We made the record we wanted to hear.”
The process started with jams. “Yes, from there we ended up with thirty songs more or less – recalls Viterbini – then, thanks to collages and in-depth work, we built the songs on the album. The title refers to a piece that we didn't include (he smiles, ed.). To create we followed the freest and most natural process we knew because you don't chase the future, it comes at you. These songs came to us”. The project, as we wrote in our review, pursues an almost Nietzschean purity, that is, without the codes that a musician acquires over time.
It's as if the group, magically transformed into a children's band, putting fun and creativity at the centre, in some situations he had focused on not slavishly following what was learned in his career, but on taking other untrodden paths, but the result of experiences. “There are different colors and moods in this album, undoubtedly in greater form than the previous one – concludes Marco Fasolo – they sincerely reflect what we brought into the jams. It is clear that there are some African rhythms, but there was never the underlying idea of making an African music record. Inside these songs there is everything we like to listen to.”
