Now Brunori sounds like a Roman singer-songwriter from the 90s
At the beginning there is an echo of Niccolò Fabi: “The real luxury is poverty / you told me the other night at the table / the real luxury is poverty, because the poor have a dream”, Brunori whispers, with his voice affected by reverbs and delays, just like his colleague’s style. In another passage it seems to hear Daniel Silvestri: “Drugs / fashion / football / pussy / I like / fucking / it’s better than the national team / popopopopooo…”, Brunori now sings, marking the metric, on the pressing rhythm of the drums. The only one missing from the roll call is Max Gazzè. Instead in the end Brunori’s very recognizable stamp comes out: “I see you a little tired / white straight male / between moral blackmail, ancestral guilt / bargaining chips”.
“.The guillotine”, the new single by Dario Brunori, produced by Richard Sinigalliait plays how Brunori Sas would have sounded if instead of being born in Cosenza he had been born in Rome. Not the Rome of today, that of post (but very post, post, post) indie, but the one in which thirty years ago a group of young musicians armed with guitar, bass and keyboard on the stage of a small club in Vicolo del Fico, simply called Il Locale, developed a new form of song, giving life to one of the most fascinating musical scenes in the history of Italian pop music.
In addition to Fabi, Silvestri and Gazzè at the Locale in Vicolo del Fico Riccardo Sinigallia himself was there too, and he was the true eminence grise of that scene: an artist with a special sensitivity, he contributed to the national-popular success of his colleagues while remaining one step behind, producing and arranging the first two albums for Fabi (those of “Dica”, “Capelli, “Vento d’estate” and “Lasciarsi un giorno a Roma”), “Cara Valentina” for Gazzè and the jewel “La descrizione di un attimo” for Tiromancino, also co-signing the songs together with Federico Zampaglione. Essential guitar riffs and frenetic riffs frame excerpts of daily ideal and ideological quarrels: Sinigallia’s touch is very much felt in “La ghigliottina”, the second chapter of Brunori’s partnership with the Roman producer after “La vita com’è”, released last year.
The theme is the politically correct (“How many things are said at the table that you would never say in public / especially since the guillotine has a sharp blade and you know it”, sings Brunori) and the song is a frenetic flow of images, thoughts, considerations and contradictions with the pen of Dario Brunori serving multiple keys to reading contemporaneity. “’La ghigliottina’ is a song about current events. And current events, as we know, are always slippery. For this reason, in getting into this mess, I took on the role of a reporter and an author, alternating phrases I picked up around with stuff that just crossed my mind The final version is the result of a sort of crasis suggested to me by Riccardo Sinigallia, the fusion of two pre-existing songs that revolved around common themes, but without a particular focus”, explains Brunori.
The mash-up, however, brought out something interesting: “In some ways it recalls the schizophrenic flow of images and sounds of scrolling on social media. We liked it and here it is”, adds the Calabrian singer-songwriter.
On the horizon there is a album which should be released by March, before the start – scheduled for March 14 from the PalaElachem in Vigevano, in the province of Pavia – of Brunori’s tour of sports halls and perhaps in conjunction with the participation of the voice of “La verità” at the Sanremo Festival. This combination promises to bring even more surprises..
