Samuele Bersani, the new album is medicine for him and for all of us

Samuele Bersani has released a new album, Cinema Samuele, which is an album-medicine: this is what the songwriter's new work helps us in.

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Cinema, by its definition, is a place where images are projected in front of the viewer and, as they scroll, tell a story. The audience, sitting in front of a screen, watches the succession of events, the exchange of words, the progress of the plot, and ends up becoming part of the story, because it lets itself be involved and carried away by the story, by its protagonists, by the intertwining of facts. It is no coincidence, therefore, that the new album by Samuele Bersani is called Cinema Samuele: it is a cinema made up of ten screens, ten concrete and poetic stories, whose main theme is Bersani's gaze on himself and on the reality that surrounds him; a complicated, stratified, bitter reality that he describes with surgical precision, without ever taking away the poetry and charm of his story.





Samuele Bersani, the new album is medicine for him and for all of us

The cover of “Cinema Samuele”, the new album by Samuele Bersani

A cinema, this is Samuele Bersani's new album, ten films of authentic beauty. A total beauty, gentle, because it is not in its nature raise your voice to be heard, yet intrusive, because it forces the listener to stop and listen. Yes, it is a record that arrives, bypasses, breaks and saves the listener, because it is a complete, lucid, flawless story, capable of dragging the listener in front of a series of events, with all the sensations and reactions that each of them procures. Cinema Samuele is a disc that can be seen, its protagonists are made of flesh and blood, they have a story, they live here and now, but they existed before, they are not symbols, means by which to tell an event, but they are the event.

Index

Cinema Samuele: how you are reborn from happiness

Cinema Samuele comes seven years after Cloud number nine, the latest unreleased album by Bersani, released in 2013. Nuvola number nine, which is the literal translation of the expression "cloud nine", which in English corresponds to our phrase "be in seventh heaven”, Had happiness as a leitmotif; an adult happiness, aware, reasoned, not sudden or improvised, but the result of a profound knowledge of one's interiority and of one's shadow areas. Cinema Samuele tells what happened in the aftermath of that happiness, is a disenchanted and profound album, intimate and lucid, capable of investigate the abyss and stop in each of them.

The peculiarity of this record, perhaps, is all here: Samuele Bersani teaches us to stand beside the pain, to feel all its impetus, without running away, without translating it into something tameable. And so pain, like everything that is explained, heals without pain. When it stays, it means it needs more time. Because, after all, pain is not foreign to us and there is no enemy: it is a consequence and, as such, for it to heal, it is necessary to explain (and explain to us) where it comes from and where it is destined to go. Cinema Samuele, therefore, tells of when "the anger inside me expands while waiting”, When, in the aftermath of happiness, the pain seems insurmountable. Yet this record moves, goes up, raises the slope, goes back to look for the truth, tells it without artifice, without sensationalism.



Harakiri: dying to be reborn

Not by chance, Cinema Samuele's journey began with Hara-kiri, the first song from the album, a cinematic story, visible, for this concrete, which explains the ascent from the abyss. The protagonist of this first story is a man who chooses to escape from suicide (harakiri is a form of suicide typical of samurai, which was carried out by ripping the stomach with the sword; it was a way to express one's dissent for an injustice suffered), but which decides, above all, to avoid what causes him pain . He survives death, but remains locked in the house, safe from any occasion of pain. He lives without stumbling and without taking risks. Then the rebirth, the first timid attempt at recovery: he dresses in white like "a firefly in the middle of the blackout" and realizes that his proactive and welcoming attitude even involves the reality that surrounds him. Even the sky opens, like a curtain, and the opportunity he decides to give himself becomes the beginning of the future. Harakiri is one metaphor, means that it is not reborn without pain, it is reborn despite the pain.

Cinema Samuele, therefore, starts from the end: Harakiri is a concrete and decisive answer to the past, but - in the middle - between the brazen happiness of Nuvola Numero Nove and the future that begins when the sky opens "like a curtain opening", there are nine other songs, nine stories that investigate the past and tell it with clear awareness. In Pixel, for example, the song that opens the disc, the anger it hasn't gone out yet, it's intrusive and sharp: “Don't get close”, sings Bersani, “It is better that we know each other first for the harm you will do to me”. Then comes The tyrant, another metaphor, this time the expression of an anger that cannot change the character of the protagonist: the oppressed has the possibility of killing the oppressor, but - when he points the razor an inch from his throat - “I have a shiver on my back”; the protagonist gives up on his purpose because of the anger he feels he is unable to distort his nature. We are facing a first expression of rebirth: pain does not change the protagonist, but leads him to a profound reflection; he did not become other than himself, anger did not make him different, it marked him, yes, but not indelibly.



All the halls of Cinema Samuele

In Half Lie, the story becomes more personal, the metaphor leaves room for the urge to tell a story tired and worn out relationship, in which one confronts each other to assert one's supremacy, therefore to win over the other. "It seems to be inside a party that has reached its final act", sings Bersani, "For lack of democracy there is no alternative majority to yours". Half a lie ends with a reflection: "To make peace with one's pride what an effort it takes". Then it's up to Your memory, a piece of intense beauty: the past and the present collide with unequal weapons, because the former plays the persuasive and winning card of melancholy, the second deploys a cold and rational one awareness; the first "makes his meeting", the second remains silent. There are no losers or winners at the end of the story, but the present "promises itself that when it reaches the finish line it will never be nostalgic again".

Le abbagnale, along the lines of En and Xanax, tells the love story of two women different, daughters of opposite worlds, of irreconcilable destinies, who learn to inhabit the same present. Two strong, overwhelming, conflicting personalities, protagonists of a total, adult, conscious love: "A city left by candlelight united them", sings Bersani, wanting to underline the cultural heritage of a society that wants to believe that they are two sisters and not two women who love each other, but then adds "But their personal charge of electricity would ignite the whole of Rome". Con te, then, is the story of a losing love, from perdition, lost due to lack of communication: the protagonist has no defenses when he finds himself in front of the woman he loves, does not find his own balance and slips on the impassable ground of a love without hope. With you, like Half lie, it is another blast from the past, Bersani stops a moment that has passed and tells it with precision.

Vertical scrolling, on the other hand, is a bitter look at the present: it is the still image of a company that believed it had control over technological progress, but who instead has become, in spite of himself, victim. “How long have you not seen me with my neck straight?” Asks Samuele and asks us. The interview, the penultimate piece of the album, is the story of a journalist who is faced with yet another showbiz product: an arrogant and contentless artist. The journalist, therefore, faced with the rude behavior of the interviewee, decides to tell his true nature, but is fired by his bosses because "you know we need the artist": in this passage, Bersani denounces a society in which who is at the head of the system he is ready to do anything to exploit the rising star; so if anyone tries to denounce this corrupt mechanism, is killed without the possibility of replication.

To close the disc is Dystopians (Ti sto Vicino), a piece of sharp and raw beauty, capable of evoking precise sensations and recalling images of great impact: the song, although written before theCovid emergency, seems to tell the past months (“The curfew is about to start, I'm out and about like a thief looking for you, with an army truck behind me, which followed me right up to here”). It is an extremely intimate piece, which lays bare the man, his frailties, his fears. The story of Cinema Samuele begins with Harakiri, as I said, who is the final link in the chain, and ends with Dystopians, who is a painful awareness but necessary to arrive at rebirth (“We would have had a child together but then they won the ifs”).

Samuele Bersani and his medicine album

Cinema Samuele is a album medicine because it explains that pain is not to be avoided: it does not disappear when it is no longer seen, but when it becomes an essential and precious experience; when you learn to live with it without complaining anymore; when it remains, not as an obstacle, but as an impetus towards the future. In fact, Samuele Bersani came back when the storm ended and, still soaked, he told us what it was like to cross the storm: he is not an angry record, but he has dealt with anger; it is not a resigned record, but it has come to terms with the lures of resignation; it is not a record in the past, but it has been able to deal with it.

Cinema Samuele holds the listener by the hand while accompanying him to get to know life after pain. For this reason, it is more than ever a necessary, concrete yet profoundly poetic record. A record that tells the truth of an adult and aware man, but which, above all, tells the story of anyone who knows how to abandon himself to unmatched beauty of honesty.

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