This album represents the sixth chapter of the artistic work of the songwriter from Bologna. After having chronicled and also foreseen the times we are currently living (L'ombra dell'ora rossa – 2011) and the defeat of human society (La staffetta – 2015). In this album the aim is to define what one should take with him in the journey we are forced to go through in the following years. So love, declined in all of its forms and told in 13 songs, recorded at the end of 2019, is key. Above all, love for cats and nature, embodied by an impartial and strict mother, very impatient but thirsty of equity. In this album one desires to render the ambience of live sonorities in the context of a club: a very natural and unprocessed sound. The shooting has taken place in only six days. The tracks taste of blues, bearing some electroacoustic jazz moments and mediaeval ballads in their musical texture. Combined with these elements, there is also a reminded of rock music and a strong presence of traditional songwriting.
The intention was to restore the purity of sound without the artificial filter of digital perfection, of an excessive processing and of the exasperated use of compressors.
Arranged by Bonaveri himself, together with Nicola Morali, the album was realised in the Spectrum Studio of Bologna, with the help of Roberto Passuti it was finally distributed by the label Visage. IL BARDO E IL RE DEI GATTI is a piece of high quality songwriting, a prelude to the next work that will narrate the world we are living in through the “memories from the future” of the survivors.
Bonaveri was born in 1968 in Bologna. Since the early childhood he was passionate about the Italian and International songwriter scene scene, taking the first steps as a composer.
His writing style is halfway between philosophy and alchemy. His music draws from an existential need and his lyrics mirror this condition, in a constant pursuit of exploring the folds of daily life.
A song that uses the pretext of rethinking one's life, thereby dealing with the topic of
the circularity of time, namely the coexistence of past, present and future. This condition is experienced by the shaman, the saint, he who practices certain types of meditation nowadays
endorsed by quantum physics. Times as a physical space where one can move and transit.
Medievalish song that moves from the allegory of the three Dante fairs (the lion, the wolf and the lonza) of the Divine Comedy to narrate the brutal murder of the object of love at the hands of these, experienced by the protagonist of the song. A song about the soul that offers different reading approaches; starting from the exoteric side of the tale, through the metaphorical level until the deep symbology of the archetype itself.
This song is inspired by the god / demon and the sacrifice linked to the fire that bares the same name. In this case it is related to Lucifer, an entity that encourages people to riot, to pursue sexual freedom, mainly to consider the diabolos (dia-ballein: put sideways, obstacle), the obstacle that is necessary to rise, like the sea that in order to shine in the sun needs to become a wave and crash against the cliff, its obstacle.
This song questions the social concept of justice to turn the gaze to the concept of equity (already addressed in the song LA JUSTICE in the album L'ORA DELL'OMBRA ROSSA – by Bonaveri), taking the story of a mercenary that deserts the orders of the empire, having sworn eternal loyalty to his lover, as a pretext. The protagonist will be sentenced to death in the name of equity, thereby denying the ideal of justice.
This is a song about love, seen as an existential journey. Love as freedom to renounce possession, bearing in mind that true love is universal and permeates every instant of our existence, even when it is not visible.
THE THINGS THAT MATTER
A tango ballad that narrates the story of two dancers who go through life floating above daily problems. The focus is placed on the little things we neglect, like two little roses let to dry inside the pages of the diary of two dancing lovers.
This existentialist song unfolds telling the heartache experienced by a lover, who is aware of the fact that not even an exorcist could free him from this curse. He then realizes that the only way to survive the waves of emotional storms is to surrender, not standing up against the billows but being carried by the flow like a leaf.
The unconditional love for Nature, the one and only guide and resource of the universe. The entity that provides for everything following a mysterious plan, its moves are impenetrable by men, who can only guess but rarely comprehend and dominate.
In juxtaposition with the former song, this one carries out a critique of the anthropocentric vision of the world, a costant challenge of the laws of Nature that leads to the dystopia in which we are living day after day. Until the extreme end, that is the hidden desire to replace God through the illusion of dominating the whole universe, in a completely vain attempt.
Under a single sky the existence of different living creatures unfolds, while everything is silently accomplished. Under this sky the unchanged prodigies of the universe are staged: every night the Pleiades shine until the sun reappears, bowing to his spouse; dawn breaks and the wonderful cycle of eternity is fulfilled.
The protagonist of the song is very old (not necessarily on the paper), and in the mist of memories an old love emerges, whose souvenir is tinged with fantasy. Has it really happened? Is it a fantasy? It doesn't matter, the mind creates and heightens memories to give us the illlusion that we are not alone. And that we never have been. Multiple layers of interpretation, moving from regret to the need of imagining a worthy past, incapable of staying in the fullness of the present.
IL GIARDINO DEI MELOGRANI THE GARDEN OF POMERGRANATE
A master sets his scholar free, he encourages him to find his own way with trust, being supported and guided by the eternal forces of the universe: water, fire, air. He pronunces ancient words, coming from a far away wisdom like thos of Ermete Trimegisto. And the pupil will obey, because once found, the master has to be killed.
THE BARD AND THE KING OF CATS
A divertissement to celebrate the miracle of life, ready to surprise us at any moment, especially for those who can live in the present, free of the schizophrenic jump from the past to the future. The druid had the power to rule on life and death, therefore it was good practice to host him and to be in his favour, to be open to new things. The prophet predicts the future, especially the death of people, so it was wise not to ask to many questions. Le bard was the guardian of music and poetry, of art in general, which is the only tool that allows men to access holiness and to go beyond the misery of life.