00:00It's a love song, but not because it's about a first time that appears in the chorus, but
00:16more than anything else because it talks about the time that passes, that pulls us like the
00:19current of a river, only on one side, but unfortunately I don't like this thing.
00:26And then, yes, about the time that passes, about the trees that taught me something,
00:32about the olives around the house, surrounded by the net, olives that I'm sure can
00:36escape in some way.
00:38So, yes, we wrote the videoclip together with Tommaso Ottomano, with whom I also wrote
00:43the song.
00:44My brother, also him, Maremmano, who lives in Milan, he's a director, but he's also
00:48a musician.
00:49So, yes, it's a love song, but not because it's about a first time that appears in the
00:56chorus, but more than anything else because it talks about the time that passes, about the
01:03time that passes, about the trees that taught me something, about the time that passes, about
01:08the time that passes, about the time that passes, about the time that passes, about the time that
01:13passes, about the time that passes, about the time that passes, about the time that passes,
01:17about the time that passes, about the time that passes, about the time that passes.
01:19So, yes, the moment of the concert must be different than the moment of the hearing of
01:23the record, and when I go to a concert and I hear the perfection of what I've already
01:27found in the record I'm not happy, I want whistling, I want the errors, I want a
01:32real live performance, and so a videoclip is also another moment, another form of expression
01:38that you have available to recount that thing, even in another key, and with this video,
01:43thanks to this evil entity, a cooler, which in an elevator reveals itself, step by step,
01:49more and more majestic, more and more, I also call it divine, this cooler, in the end.
01:54It also wants to make the whole composition of some lives collapse a bit,
02:04I mean, anyway, the human being is ridiculous in itself, it's tragicomical,
02:08so this being, the cooler, in the video manages to make the tragicomicity of the human being disappear.
02:16The fact that Carlo has lent himself to this crazy video is a great thing,
02:21and not for nothing taken for granted, in fact it was really great, I thank him for this.
02:25Meanwhile, working with him was a formative experience for me,
02:29because it was the first time that I ended up in front of the eye of a camera,
02:33and not in the eyes of people when I go to play, it's a different eye,
02:36and having him next to me, who can give you advice or try jokes with him before entering the scene,
02:42it's a blessing, it was a formative teaching.
02:46Then, the thing that fascinates me about Carlo is that he's a bluesman,
02:49not only because he's a music lover, passionate, but really a lover,
02:54and he's a bluesman for how, for that little I've known about him, he approaches life,
03:00he has that intrinsic melancholy in himself, which is the key of blues.
03:05He's a bluesman.
03:08I love those things, I love Ivan Graziani, Conte, Dalla,
03:11those who made music that could have been recorded in 2080 and released in 1960,
03:20or viceversa, those who never cling to a specific historical moment.
03:24When there is actuality in music, it sucks.
03:27I want to look for other things that I don't know in the songs,
03:31not the world around me, which sucks.
03:33I already know what's around me, outside, every day, in this year, in this time.
03:38I want to go elsewhere when I put something in my ears.
03:41I want songs that make me believe I'm someone else.
03:46That's what I'm looking for in music.
03:51Yes, it's also a disappointment, why not?
03:54Because the beauty of forms of expression is that you have a blank sheet,
03:57and you can try to make the world more beautiful, but also much uglier.
04:01This is also a very fun thing to do, and if done well, it's also smart, like Moss.
04:08It's nice to make the world uglier in music.
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