Via Lattea - The Milky Way

Ci alzammo che non era ancora l'alba Pronti per trasbordare Dentro un satellite artificiale Che ci condusse in fretta Alle porte di Sirio Dove un equipaggio sperimentale Si preparava Al lungo viaggio Noi Provinciali dell'Orsa Minore Alla conquista degli spazi interstellari E vestiti di grigio chiaro Per non disperdersi Seguimmo certe rotte in diagonale Dentro la Via Lattea Un capitano del centro impressioni Colto da esaurimento Venne presto mandato in esilio Mi preparavo Al lungo viaggio In cui ci si perde Seguimmo certe rotte in diagonale Dentro la Via Lattea Via Lattea © 1985 Franco Battiato In "Via Lattea," we are ready for the blast off that will take us to those "far-distant worlds" of the album title.

We got up when it wasn’t even dawn ready to transship inside an artificial satellite that led us in haste to the gates of Sirius, where an experimental crew was preparing for the long voyage – we, provincials of Ursa Minor – for the conquest of interstellar spaces, and dressed in light grey so as not to get disbanded. We followed certain routes on the diagonal inside the Milky Way. A captain from the Center of Impressions, hit by exhaustion, was quickly sent into exile. I prepared myself for the long voyage in which you get lost. We followed certain routes on the diagonal inside the Milky Way. English translation © 2020 Dennis Criteser Mondi lontanissimi was released in 1985 and was originally conceived as a sort of intergalactic fable. According to Battiato, "The far-distant worlds are the worlds of fantasy, of the planets of our constellation in which perhaps there are other forms of life that we're not able to imagine; also the interior worlds, those levels of awareness that not only can we not imagine but that we waste like the greatest treasure hidden in every individual." Giusto Pio collaborated on the arrangements and on most of the music, and also directed the Milan Symphony Orchestra, whose presence here lends warmth to what is sometimes a certain coldness in Battiato's more synth-heavy work.

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Risveglio di primavera - Awakening of Springtime

La presenza dell'artiglieria Nei paesi del meridione Uniti nella lotta allo straniero Sotto il Regno delle Due Sicilie E i movimenti prevedibili Delle truppe in finte battaglie L'odore della polvere da sparo E voci dallo stretto di Messina Sentimenti occulti tra noi Mi innamorai Seguendo i ritmi del cuore E mi svegliai in primavera Notti bianche per i Saraceni Ch'erano di facili costumi Locande chiuse ai Greci e agli Spagnoli Nei dintorni di Catania E i movimenti irresistibili Dei bacini delle ragazze Vedere ballare il flamenco Era un'esperienza sensualissima Sentimenti occulti tra noi Mi innamorai Seguendo i ritmi del cuore E mi svegliai in primavera Risveglio di primavera Risveglio di primavera © 1985 Franco Battiato "Risveglio di primavera" shares its title with a play of the same name by the German playwright Frank Wedekind, though the play and the song are of opposite tone. The historic details in the verses range from the many foreign dominations of Sicily to the Kingdom of the Two Sicilies just before the Italian unification. The chorus speaks of an innocent and wholesome awakening of love/sex (unlike the play), but whenever Battiato talks about "waking up," one must also be aware of the Gurdjieffian overtones, which point to a spiritual awakening from the state of deep sleep that all people live their lives in . . . until they wake up to remember their true self.

The presence of the artillery in the towns of the south united in the fight against the foreigner under the Kingdom of the Two Sicilies. And the predictable movements of the troops in fake battles, the smell of the gunpowder, and voices from the Strait of Messina. Hidden sentiments between us. I fell in love following the rhythms of the heart and I woke up in springtime. White nights for the Saracens who were of simple garb. Inns closed to the Greeks and Spaniards on the outskirts of Catania. And the irresistible movements of the hips of the girls – seeing Flamenco dancing was a most sensual experience. Hidden sentiments between us. I fell in love following the rhythms of the heart and I woke up in springtime. Awakening of springtime. English translation © 2020 Dennis Criteser Mondi lontanissimi was released in 1985 and was originally conceived as a sort of intergalactic fable. According to Battiato, "The far-distant worlds are the worlds of fantasy, of the planets of our constellation in which perhaps there are other forms of life that we're not able to imagine; also the interior worlds, those levels of awareness that not only can we not imagine but that we waste like the greatest treasure hidden in every individual." Giusto Pio collaborated on the arrangements and on most of the music, and also directed the Milan Symphony Orchestra, whose presence here lends warmth to what is sometimes a certain coldness in Battiato's more synth-heavy work.

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No Time no Space

Parlami dell' esistenza di mondi lontanissimi Di civiltà sepolte di continenti alla deriva Parlami dell'amore che si fa in mezzo agli uomini Di viaggiatori anomali in territori mistici ... di più Seguimmo per istinto le scie delle Comete Come Avanguardie di un altro sistema solare No Time No Space Another race of vibrations The sea of the simulation Keep your feelings in memories I love you especially tonight Controllori di volo pronti per il decollo Telescopi giganti per seguire le stelle Navigare navigare nello spazio nello spazio ... di più No Time No Space Another race of vibrations The sea of the simulation Keep your feelings in memories I love you especially tonight No Time no Space © 1985 Franco Battiato & Saro Cosentino "No Time no Space" is like a companion piece to "Via Lattea," and was the first single released from the album.

Speak to me of the existence of distant worlds, of buried civilizations, of floating continents. Speak to me of the love made amongst men, of anomalous travelers in mystical territories . . . of more. We followed by instinct the wakes of Comets as the Advance Guard of another solar system. No Time No Space Another race of vibrations The sea of the simulation Keep your feelings in memories I love you especially tonight Flight controllers ready for takeoff, huge telescopes for following the stars, navigating, navigating in space, in space . . . farther. No Time No Space Another race of vibrations The sea of the simulation Keep your feelings in memories I love you especially tonight English translation © 2020 Dennis Criteser Mondi lontanissimi was released in 1985 and was originally conceived as a sort of intergalactic fable. According to Battiato, "The far-distant worlds are the worlds of fantasy, of the planets of our constellation in which perhaps there are other forms of life that we're not able to imagine; also the interior worlds, those levels of awareness that not only can we not imagine but that we waste like the greatest treasure hidden in every individual." Giusto Pio collaborated on the arrangements and on most of the music, and also directed the Milan Symphony Orchestra, whose presence here lends warmth to what is sometimes a certain coldness in Battiato's more synth-heavy work.

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Personal computer

Mi son comprato un personal computer Ma il cuore soffre un poco di aritmia Non so come curare i reumatismi Nelle famiglie personalità Sempre in conflitto A volte anche una finta gentilezza è per litigare Quando è notte Nelle stanze d'albergo Rumori di letto Sesso meccanico Questa ginnastica Chiamata amore Innumerevoli stati d'assedio Propongono ricette per la vita Ma ho già l'astrologia babilonese Nel Medio Evo rinascimentale C'è chi cerca una liberazione E c'è chi scopre un'altra particella Quando è notte Nelle stanze d'albergo Rumori di letto Sesso meccanico E il tuo telefono è sempre occupato Personal computer © 1985 Franco Battiato & Saro Consentino "Personal computer" points to a mismatch between the advances of technology and the evolution of the human race, where technological progress leads to a devolution of society, with individuals ever more distant from each other.

I bought myself a personal computer. But my heart suffers from a little arrhythmia. I don’t know how to cure the rheumatisms in the family’s personalities. Always in conflict, sometimes even a feigned kindness is to be fought about. When it’s night in the hotel rooms, bed sounds, mechanical sex – this gymnastics called love. Innumerable states of siege propose recipes for life. But I already have the Babylonian Astrology in the medieval Rennaissance. There are those seeking a liberation and those discovering another new particle. When it’s night in the hotel rooms, bed sounds, mechanical sex, and your telephone is always busy. English translation © 2020 Dennis Criteser Mondi lontanissimi was released in 1985 and was originally conceived as a sort of intergalactic fable. According to Battiato, "The far-distant worlds are the worlds of fantasy, of the planets of our constellation in which perhaps there are other forms of life that we're not able to imagine; also the interior worlds, those levels of awareness that not only can we not imagine but that we waste like the greatest treasure hidden in every individual." Giusto Pio collaborated on the arrangements and on most of the music, and also directed the Milan Symphony Orchestra, whose presence here lends warmth to what is sometimes a certain coldness in Battiato's more synth-heavy work.

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Temporary Road

I'm looking for someone a miracle To send my life in the curved air I'm a lonely boy steppin' out Solitary man ... I don't understand Life can be short or long Tomorrow is another day I'm livin' underground like a teddy boy I cross the rainbow Migliaia di prigionieri immobili Seduti sulle macchine ai semafori Quando non c'è traffico per le vie del centro Solitario me ne vo per la città L'aria calma dei dí di festa Scende dalle scale verso me Vigilesse all'erta come teddy boys Per divieto di sosta Danno sempre le multe Da una chiesa qui vicino Suona una campana din don dan Temporary Road © 1985 Franco Battiato "Temporary Road" includes several references: to Terry Riley's A Rainbow in Curved Air, to Giacomo Leopardi's La sera del dì di festa, to a line from "In cerca di te" by Eros Sciorilli ("Sola me ne vo per la città"), and to a line from Gone With the Wind ("tomorrow is another day"). There's also the insertion of Mozart's Turkish Rondo (from the Piano Sonata #11) for the final lines and outro.

I'm looking for someone, a miracle to send my life into the curved air. I'm a lonely boy steppin' out, solitary man . . . I don't understand. Life can be short or long, tomorrow is another day. I'm livin' underground like a teddy boy, I cross the rainbow. Thousands of immobile prisoners seated in their cars at the stop lights. When there's no traffic on the downtown streets, alone I head for the city. The calm air of the holiday gods descends the stairs in my direction. Meter maids on the alert like teddy boys – for No Stopping zones they’re always giving tickets. From a church nearby a bell sounds – ding ding dong. English translation © 2020 Dennis Criteser Mondi lontanissimi was released in 1985 and was originally conceived as a sort of intergalactic fable. According to Battiato, "The far-distant worlds are the worlds of fantasy, of the planets of our constellation in which perhaps there are other forms of life that we're not able to imagine; also the interior worlds, those levels of awareness that not only can we not imagine but that we waste like the greatest treasure hidden in every individual." Giusto Pio collaborated on the arrangements and on most of the music, and also directed the Milan Symphony Orchestra, whose presence here lends warmth to what is sometimes a certain coldness in Battiato's more synth-heavy work.

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Il Re del Mondo - The King of the World

Strano come il rombo degli aerei da caccia un tempo Stonasse con il ritmo delle piante al sole sui balconi ... E poi silenzio ... e poi, lontano Il tuono dei cannoni, a freddo ... E dalle radio dei segnali in codice Un giorno in cielo, fuochi di Bengala ... Ia Pace ritornò Ma il Re del Mondo Ci tiene prigioniero il cuore Nei vestiti bianchi a ruota ... Echi delle danze sufi ... Nelle metro giapponesi, oggi Macchine d'ossigeno Più diventa tutto inutile E più credi che sia vero E il giorno della fine Non ti servirà l'Inglese ... E sulle biciclette verso casa La vita ci sfiorò Ma il Re del Mondo Ci tiene prigioniero il cuore Il Re del Mondo © 1979 Franco Battiato "Il Re del Mondo" refers to a book by René Guénon. One of the mainsprings of Guénon’s thought is the idea that the society of the modern West is not a triumph of evolution (an idea he despised) but rather a reflection of an extremely degenerate age that he equated with the Hindu Kali Yuga, or Age of Darkness. One corollary of this idea is the belief that humanity did have a connection with a sacred centre and hierarchy – in prehistoric times – but this connection has been obscured and to all practical purposes lost. Thus it was natural for Guénon to hold to an idea of a hidden sacred kingdom. “This ‘Holy Land,’ which is defended by guardians who keep it hidden from profane view while ensuring a certain exterior communication, is to all intents and purposes inaccessible and invisible to all except those possessing the necessary qualifications for entry,” he wrote. The song intro is an intriguing mix of time signatures (starting with the first minor chord: 4, 5, 4, 4, 4, 3, then alternating 3-4-3s on the alternating major and minor chords), keeping you a little off balance until the regular groove of the song kicks in.

Strange how the rumble of the fighter planes one time clashed with the rhythm of the plants in the sun on the balconies . . . and then silence . . . and then, far away the thunder of cannons, with cold intention . . . and from the radios some signals in code. One day in the sky, Bengal sparkler fireworks. . . peace returned, but the King of the World holds prisoner our heart. In their whirling white garb . . . echoes of Sufi dances . . . In Japanese metros, today, oxygen machines. The more everything becomes useless, the more you believe it’s true. And on the final day English won’t do you any good. . . . and on the bicycles near home life touched us, but the King of the World holds prisoner our heart. English translation © 2020 Dennis Criteser Mondi lontanissimi was released in 1985 and was originally conceived as a sort of intergalactic fable. According to Battiato, "The far-distant worlds are the worlds of fantasy, of the planets of our constellation in which perhaps there are other forms of life that we're not able to imagine; also the interior worlds, those levels of awareness that not only can we not imagine but that we waste like the greatest treasure hidden in every individual." Giusto Pio collaborated on the arrangements and on most of the music, and also directed the Milan Symphony Orchestra, whose presence here lends warmth to what is sometimes a certain coldness in Battiato's more synth-heavy work.

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Chan-son egocentrique - Egocentric Song

Avenue Park My life in the dark I with me Do you smile For arabian style I like hit Miami Beach boys Children with toys Across the universe Chan-son egocentrique Self centred song Chan-son egocentrique Self centred song Chi sono, dove sono Quando sono assente di me Da dove vengo, dove vado Dalla pupilla viziosa delle nuvole La luna scende i gradini di grattacieli Per prendermi la vita Chan-son egocentrique ... Central Park I love in the dark Ich bin klein People sang Around the campfire ground I remember Prehistoric sound Was the time of the dinosaur age Oh, nein Chan-son egocentrique © 1982 Francesco Messina, Tommaso Tramonti, Franco Battiato "Chan-son egocentrique" was originally written in 1982 for an album by Alice. All three authors were deeply into the teachings of Gurdjieff, so we can understand the question "where am I when I am absent myself?" to be a philosophic koan based on the Gurdjieffian understanding that we live most of our lives unconscious of our own deeper, more real self. The five lines at the end of the song beginning with "People sang" are taken from the song "Prehistoric Sound" by Osage Tribe, a progressive rock band Battiato founded in 1972.

Avenue Park My life in the dark I with me Do you smile For Arabian style I like hit Miami Beach boys Children with toys Across the universe Self-centered song Self-centered song Self-centered song Self-centered song Who am I, where am I when I am absent of myself? Where do I come from, where do I go? From the depraved pupils of the clouds the moon descends the stairs of skyscrapers to take my life. Self-centered song ... Central Park I love in the dark I am small People sang Around the campfire ground I remember Prehistoric sound Was the time of the dinosaur age Oh, no. English translation © 2020 Dennis Criteser Mondi lontanissimi was released in 1985 and was originally conceived as a sort of intergalactic fable. According to Battiato, "The far-distant worlds are the worlds of fantasy, of the planets of our constellation in which perhaps there are other forms of life that we're not able to imagine; also the interior worlds, those levels of awareness that not only can we not imagine but that we waste like the greatest treasure hidden in every individual." Giusto Pio collaborated on the arrangements and on most of the music, and also directed the Milan Symphony Orchestra, whose presence here lends warmth to what is sometimes a certain coldness in Battiato's more synth-heavy work.

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I Treni di Tozeur - The Trains of Tozeur

Nei villaggi di frontiera guardano passare i treni Le strade deserte di Tozeur Da una casa lontana tua madre mi vede Si ricorda di me delle mie abitudini E per un istante ritorna la voglia di vivere A un'altra velocità Passano ancora lenti i treni per Tozeur Nelle chiese abbandonate si preparano rifugi E nuove astronavi per viaggi interstellari In una vecchia miniera distese di sale E un ricordo di me come un incantesimo E per un istante ritorna la voglia di vivere A un'altra velocità Passano ancora lenti i treni per Tozeur Doch wir wollen dir ihn zeigen/Und du wirst... Nei villaggi di frontiera guardano passare I treni per Tozeur I treni di Tozeur © 1985 Franco Battiato & Saro Cosentino "I treni di Tozeur" was written in 1984 and represented Italy in the Eurovision Song Contest, sung there as a duet by Battiato and Alice. The song placed 5th out of 19, and was commercially successful both in Italy and in Europe more broadly. The lyrics take inspiration from Battiato's travels in the south of Tunisia, where Tozeur is a city and oasis, and specifically refer to a train line known as the North African Orient Express. The German snippet is an excerpt from Mozart's Magic Flute (Act II, Scene 27).

In the frontier towns they watch the trains pass the desert roads of Tozeur. From a distant house your mother sees me, she remembers me, some of my habits. And for an instant the desire returns to live at another speed. The trains bound for Tozeur still pass slowly. In the abandoned churches refugees are prepared and new spaceships for interstellar travel. In an old mine, expanses of salt and a memory of me like a spell. And for an instant the desire returns to live at another speed. The trains bound for Tozeur still pass slowly. Still we want to show him to you, and you will . . . In the frontier towns they watch pass the trains bound for Tozeur. English translation © 2020 Dennis Criteser Mondi lontanissimi was released in 1985 and was originally conceived as a sort of intergalactic fable. According to Battiato, "The far-distant worlds are the worlds of fantasy, of the planets of our constellation in which perhaps there are other forms of life that we're not able to imagine; also the interior worlds, those levels of awareness that not only can we not imagine but that we waste like the greatest treasure hidden in every individual." Giusto Pio collaborated on the arrangements and on most of the music, and also directed the Milan Symphony Orchestra, whose presence here lends warmth to what is sometimes a certain coldness in Battiato's more synth-heavy work.

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L'animale - The Animal

Vivere non è difficile potendo poi rinascere Cambierei molte cose un po' di leggerezza e di stupidità Fingere tu riesci a fingere quando ti trovi accanto a me Mi dai sempre ragione e avrei voglia di dirti Ch' è meglio se sto solo... Ma l' animale che mi porto dentro Non mi fa vivere felice mai Si prende tutto anche il caffè Mi rende schiavo delle mie passioni E non si arrende mai e non sa attendere E l' animale che mi porto dentro vuole te Dentro me segni di fuoco è l'acqua che li spegne Se vuoi farli bruciare tu lasciali nell' aria Oppure sulla terra Ma l' animale che mi porto dentro Non mi fa vivere felice mai Si prende tutto anche il caffè Mi rende schiavo delle mie passioni E non si arrende mai e non sa attendere E l' animale che mi porto dentro vuole te.... L'animale © 1985 Franco Battiato "L'animale" is a song about the human passions that people find themselves at the mercy of. Battiato noted that it was not autobiographical, but rather "borrowed from the experiences of other people."

Living isn’t difficult, being able to then be reborn. I would change many things, a bit of lightness and of stupidity. Pretending, you manage to pretend when you find yourself next to me. You always agree with me, and I’d like to tell you that it’s better if I’m alone . . . But the animal that I carry inside never makes me live happily, ever. Everything is taken, even the coffee. It makes me a slave of my passions and it never surrenders and doesn’t know how to wait, and the animal I carry inside wants you. Inside me signs of fire, it’s water that puts them out. If you want to make them burn, leave them in the air or on the earth. But the animal that I carry inside never makes me live happily, ever. Everything is taken, even the coffee. It makes me a slave of my passions and it never surrenders and doesn’t know how to wait, and the animal I carry inside wants you . . . English translation © 2020 Dennis Criteser Mondi lontanissimi was released in 1985 and was originally conceived as a sort of intergalactic fable. According to Battiato, "The far-distant worlds are the worlds of fantasy, of the planets of our constellation in which perhaps there are other forms of life that we're not able to imagine; also the interior worlds, those levels of awareness that not only can we not imagine but that we waste like the greatest treasure hidden in every individual." Giusto Pio collaborated on the arrangements and on most of the music, and also directed the Milan Symphony Orchestra, whose presence here lends warmth to what is sometimes a certain coldness in Battiato's more synth-heavy work.

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