Up Patriots to Arms

La fantasia dei popoli che è giunta fino a noi Non viene dalle stelle... Alla riscossa stupidi che i fiumi sono in piena Potete stare a galla E non è colpa mia se esistono carnefici Se esiste l'imbecillità Se le panchine sono piene di gente che sta male Up patriots to arms, Engagez-Vous La musica contemporanea, mi butta giù L'ayatollah Khomeini per molti è santità Abbocchi sempre all'amo Le barricate in piazza le fai per conto della borghesia Che crea falsi miti di progresso Chi vi credete che noi siam, per i capelli che portiam Noi siamo delle lucciole che stanno nelle tenebre Up patriots to arms, Engagez-Vous La musica contemporanea, mi butta giù L'Impero della musica è giunto fino a noi Carico di menzogne Mandiamoli in pensione i direttori artistici Gli addetti alla cultura... E non è colpa mia se esistono spettacoli Con fumi e raggi laser Se le pedane sono piene Di scemi che si muovono Up patriots to arms, Engagez-Vous La musica contemporanea, mi butta giù Up Patriots to Arms © 1980 Franco Battiato In 1975 in a pub in Birmingham, England, Battiato saw "Up Patriots to Arms" emblazoned on a poster. For this new album, he thought it was a good sentiment as he embarked on making changes and trying new things musically. This song begins with a snippet of Richard Wagner's Tannhäuser, over which Battiato speaks in Arabic, which he studied seriously for a while. The last four lines of the 2nd verse are taken from a 1966 song by the Nomads, "Come potete giudicar," a cover of Sonny Bono's "The Revolution Kind."

The popular fantasy that has come down to us doesn’t come from the stars . . . To the rescue, idiots ‘til the rivers are full. You can stay with your head above water and it’s not my fault if executioners exist, if imbecility exists, if the benches are full of sick people. Up patriots to arms, commit yourself. Contemporary music is getting me down. The Ayatollah Khomeini, for many, is sanctity. You always take the bait. The barricades in the plaza you make on behalf of the bourgeoisie, who create false myths of progress. Who do you believe we are, for the hair that we wear? We are some fireflies who stay in the darkness. Up patriots to arms, commit yourself. Contemporary music is getting me down. The empire of music has come down to us laden with lies. Let’s send the artistic directors into retirement, the adepts of culture . . . And it’s not my fault if shows exist with smoke and laser beams, if the risers are full of apes that move around. Up patriots to arms, commit yourself. Contemporary music is getting me down. English translation © 2020 Dennis Criteser The final lines of "Venezia-Istanbul" are taken from Inno dei lavoratori, written in 1886 by Filippo Turati, who was instrumental in the founding of the Italian Socialist Party. Patriots was released in 1980. In the lyrics of this album, there emerge a greater emphasis on irony, the use of foreign languages, and the stringing together of disconnected phrases into montages that may or may not yield meaning upon further analysis, and whose purpose may at times be as much musical as semantic. As is typical with Battiato, there are references to literature, art, philosophy, religion, and music, along with snapshots of personal memories, that form a mix of both high and everyday culture.

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Venezia-Istanbul - Venice-Istanbul

Venezia mi ricorda istintivamente Istanbul Stessi palazzi addosso al mare Rossi tramonti che si perdono nel nulla D' Annunzio montò a cavallo con fanatismo futurista Quanta passione per gli aeroplani e per le bande legionarie Che scherzi gioca all'uomo la Natura Mi dia un pacchetto di Camel senza filtro e una minerva E una cronaca alla radio dice che una punta attacca Verticalizzando l'area di rigore... Ragazzi non giocate troppo spesso accanto agli ospedali Socrate parlava spesso delle gioie dell'Amore E nel petto degli alunni si affacciava quasi il cuore Tanto che gli offrivano anche il corpo: fuochi di Ferragosto E gli anni dell'adolescenza pieni di battesimi e comunioni In sacrestia: Ave Maria Un tempo si giocava con gli amici a carte e per le feste si indossavano cravatte per questioni estetiche e sociali; le donne si sceglievano un marito per corrispondenza... L'Etica è una vittima incosciente della Storia: ieri ho visto due che si tenevano abbracciati in un cinemino di periferia... e penso a come cambia in fretta la morale: un tempo si uccidevano i cristiani e poi questi ultimi con la scusa delle streghe ammazzavano i pagani: Ave Maria E perché il sol dell'avvenire splenda ancora sulla terra Facciamo un po' di largo con un'altra guerra Venezia-Istanbul © 1980 Franco Battiato "Venezia-Istanbul"

Venice reminds me instinctively of Istanbul – the same palaces upon the sea, pink sunsets that perish into thin air. D’Annunzio mounted his horse with futurist fanaticism – such passion for airplanes and for the Legionaire bands. What jokes Nature plays upon man. Give me a pack of unfiltered Camels and a matchbox. And a news show on the radio says that a center forward attacks, sending the ball into the penalty area . . . Kids, don’t play too often next to the hospitals. Socrates spoke often of the joys of Love, and in the chests of the students their hearts almost looking out, such that they also offered him the body: fireworks of the August holidays. And the years of adolescence full of baptisms and communions in sacristy: Ave Maria. Once upon a time one played with friends card games, and for the parties ties were donned for reasons both esthetic and social; the women chose themselves a mail-order husband . . . Ethics is an unwitting victim of History: yesterday I saw two who held each other embraced in a little suburban movie house . . . And I think of how morals change in a hurry: once upon a time Christians were getting killed, and then these outcasts, with the pretext of getting witches, murdered the pagans: Ave Maria. And in order for the sun of the future to still shine upon the land, let’s make a little space with another war. English translation © 2020 Dennis Criteser The final lines of "Venezia-Istanbul" are taken from Inno dei lavoratori, written in 1886 by Filippo Turati, who was instrumental in the founding of the Italian Socialist Party. Patriots was released in 1980. In the lyrics of this album, there emerge a greater emphasis on irony, the use of foreign languages, and the stringing together of disconnected phrases into montages that may or may not yield meaning upon further analysis, and whose purpose may at times be as much musical as semantic. As is typical with Battiato, there are references to literature, art, philosophy, religion, and music, along with snapshots of personal memories, that form a mix of both high and everyday culture.

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Le Aquile - The Eagles

Il vento gonfiava le mie vesti Di veramente stabile erano le mie scarpe nere Alle caviglie ortopediche Un tempo passavo ore in palestra Continuai a inseguirla per inerzia La vidi stagliarsi tra alberi e cielo E dopo un piccolo volo Camminare monca e rapida Avrete anche voi visto Camminare le aquile Le aquile © 1980 Franco Battiato & Fleur Jaeggy The second verse of "Le aquile" are taken from a short novel by Fleur Jaeggy, The Water Statues.

The wind filled my clothes. Truly firm were my black shoes, orthopedic, around my ankles. One time I spent hours in the gym. I continued to chase after it for no good reason. I saw it, standing out between trees and sky, and after a little flight, walking gimp and rapid. Even you all would have seen the eagles walking. English translation © 2020 Dennis Criteser Patriots was released in 1980. In the lyrics of this album, there emerge a greater emphasis on irony, the use of foreign languages, and the stringing together of disconnected phrases into montages that may or may not yield meaning upon further analysis, and whose purpose may at times be as much musical as semantic. As is typical with Battiato, there are references to literature, art, philosophy, religion, and music, along with snapshots of personal memories, that form a mix of both high and everyday culture.

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Prospettiva Nevski - Nevsky Prospekt

Un vento a trenta gradi sotto zero Incontrastato sulle piazze vuote contro i campanili A tratti come raffiche di mitra Disintegrava i cumuli di neve E intorno i fuochi delle guardie rosse Accesi per scacciare i lupi E vecchie coi rosari Seduti sui gradini di una chiesa Aspettavamo che finisse messa e uscissero le donne Poi guardavamo con le facce assenti La grazia innaturale di Nijinskj E poi di lui s'innamorò perdutamente Il suo impresario E dei balletti russi L'inverno con la mia generazione Le donne curve sui telai vicini alle finestre Un giorno sulla prospettiva Nevski Per caso vi incontrai Igor Stravinsky E gli orinali messi sotto i letti Per la notte e un film Di Eisenstein sulla rivoluzione E studiavamo chiusi in una stanza La luce fioca di candele e lampade a petrolio E quando si trattava di parlare Aspettavamo sempre con piacere E il mio maestro mi insegnò Com'è difficile trovare l'alba Dentro l'imbrunire Prospettiva Nevski © 1980 Franco Battiato In "Prospettiva Nevski," Battiato imagines scenes in wintery St. Petersburg in the early 1900s. The second verse references Sergei Diaghilev, the impresario of the Ballet Russes, and Nijinsky, the star of the company, becoming lovers. The film referenced in the third verse is October: 10 Days That Shook the World, by Sergei Eisenstein and Grigori Aleksandrov, about the Bolshevik Revolution of 1917, released in 1928. The "master" referenced in the last lines is Gurdjieff, who lived and taught in St. Petersburg from 1914-1917. Gurdjieff's teachings were among the most influential in Battiato's early studies of spirituality. Here, the dawn represents youth and the capacity to change and evolve, while dusk represents old age.

A wind at thirty degrees below zero, unchallenged on the empty plazas against the bell towers, at times like machine gun gusts, disintegrated accumulations of snow, with all around the fires of the Red Guard lit to dispel the wolves and the old-timers with their rosaries. Seated on the steps of a church, we waited for Mass to end and for the women to leave, then we watched with absent looks the unnatural grace of Nijinsky, with whom then fell deeply in love his manager, along with some Russian dance moves. The winter with my generation, women arched over looms near the windows. One day on Nevsky Prospect by chance I met you, Igor Stravinsky. And the urinals placed under the beds for the night, and a film of Eisenstein on the Revolution. And we studied, closed in a room, the dim light from candle and oil lamps, and when it came to talking we always waited with pleasure and my master taught me how difficult it is to find the dawn inside the deepening dusk. English translation © 2020 Dennis Criteser Patriots was released in 1980. In the lyrics of this album, there emerge a greater emphasis on irony, the use of foreign languages, and the stringing together of disconnected phrases into montages that may or may not yield meaning upon further analysis, and whose purpose may at times be as much musical as semantic. As is typical with Battiato, there are references to literature, art, philosophy, religion, and music, along with snapshots of personal memories, that form a mix of both high and everyday culture.

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Arabian Song

Qala' mua'llimu'll qariatì Kana aggiabalu fi-ggiabali A-ssalam 'alaikum 'alaiki Alana ana asskunu... La mia classe fu allevata con il latte di una capra e del pane di frumento A quei tempi per divertimento non avevano inventato il telegiornale Quando ero più giovane credevo che esistesse libertà Qala' mua'llimu'll qariatì Kana aggiabalu fi-ggiabali A-ssalam 'alaikum 'alaiki Alana ana asskunu... Da bambini si giocava sulle spiagge con degli aquiloni a gara sotto il sole Mentre guardavamo il mio salire verso l'alto preoccupati che non si sciupasse La mia parte assente si identificava con l'umidità Qala' mua'llimu'll qariatì Kana aggiabalu fi-ggiabali A-ssalam 'alaikum 'alaiki Alana ana asskunu... Gli orchestrali sono uguali in tutto il mondo simili ai segnali orario delle radio Le domeniche e nei giorni di vacanza ci si organizzava per le feste in casa L'uomo è l'animale più domestico e più stupido che c'è Qala' mua'llimu'll qariatì Kana aggiabalu fi-ggiabali A-ssalam 'alaikum 'alaiki Alana ana asskunu... Arabian Song © 1980 Franco Battiato During this period of time, Battiato was a serious student of the Arabic language, among other things. The choruses in Arabic make an intriguing glue that holds together the various memories and reflections in the verses.

The master of our region said, “It was the mountain inside the mountain, may peace be with you. Now I reside.” My class was reared on goat’s milk and some wheat bread. In those times, for entertainment, they hadn’t invented TV news. When I was younger I believed there was complete freedom. The master of our region said, “It was the mountain inside the mountain, may peace be with you. Now I reside.” We played as kids on the beaches with some racing kites under the sun. While we watched mine rise up high, worried that it might get damaged, my distracted part identified with the humidity. The master of our region said, “It was the mountain inside the mountain, may peace be with you. Now I reside.” Orchestras are the same the world over, similar to radio time tones. On Sundays and vacation days plans were made for parties at home. Man is the tamest and stupidest animal there is. The master of our region said, “It was the mountain inside the mountain, may peace be with you. Now I reside.” English translation © 2020 Dennis Criteser Patriots was released in 1980. In the lyrics of this album, there emerge a greater emphasis on irony, the use of foreign languages, and the stringing together of disconnected phrases into montages that may or may not yield meaning upon further analysis, and whose purpose may at times be as much musical as semantic. As is typical with Battiato, there are references to literature, art, philosophy, religion, and music, along with snapshots of personal memories, that form a mix of both high and everyday culture.

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Frammenti - Fragments

Le vecchie con le scope rincorrono i ragazzi cattivi per la strada I telegrafi del posto mandano segnali incomprensibili La donzelletta vien dalla campagna in sul calar del sole (1) Che gran comodità le segretarie che parlano più lingue E che felicità ci dà l'insegna luminosa quando siamo in cerca di benzina Deve sentirsi imbarazzato un vigile nella divisa il primo giorno di lavoro Me ne andavo una mattina a spigolare quando vidi una barca in mezzo al mare (2) I cipressi che a Bolgheri alti e schietti vanno da San Guido in duplice filar (3) Hanno veduto una cavalla storna riportare colui che non ritorna (4) La donna schiuse senza resistenza gli occhi abituati a prendere collirio Hai mai veduto a Borgopanigale un'aurora simile alla boreale Perché bella ragazza padovana ti vuoi fare una comune giù in Toscana? D'in su la vetta della torre antica passero solitario alla campagna cantando vai... finché non muore il giorno (5) Frammenti © 1980 Franco Battiato "Frammenti" includes lyrics taken from several Italian works: (1)“Il sabato del villaggio” by Giacomo Leopardi; (2) “La Spigolatrice di Sapri” by Luigi Mercantini; (3) “Davanti a San Guido” by Giosuè Carducci; (4) “La Cavalla Storna” by Giovanni Pascoli; (5) “Il passero solitario” by Giacomo Leopardi.

The old women with their brooms chase the bad kids through the streets. The local telegraphs send incomprehensible signals. The damsel comes in from the field at the setting of the sun. What great convenience the secretaries who speak more languages, and what happiness the lighted sign gives us when we’re in search of gasoline. A watchman ought to feel embarrassed in uniform on the first day of work. I left one morning to bundle wheat when I saw a ship out in the middle of the sea. The cypresses that at Bolgheri, tall and erect ranging from San Guido in double file, saw a grey mare carrying back someone who's not returning. The woman half-opened, without resistance, her eyes, well used to taking eye drops. Did you ever see at Borgo Panigale a dawn similar to the borealis? Why, pretty Padua girl, do you want to make for yourself a township down in Tuscany? From the top of the ancient tower, blue rock thrush, to the field singing you go . . . until the dying day. English translation © 2020 Dennis Criteser Patriots was released in 1980. In the lyrics of this album, there emerge a greater emphasis on irony, the use of foreign languages, and the stringing together of disconnected phrases into montages that may or may not yield meaning upon further analysis, and whose purpose may at times be as much musical as semantic. As is typical with Battiato, there are references to literature, art, philosophy, religion, and music, along with snapshots of personal memories, that form a mix of both high and everyday culture.

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Passaggi a livello - Railroad Crossings

Correvano veloci lungo le gallerie I treni di una volta trasportavano le spie Nelle carrozze letto sposi in luna di miele Facevano l'amore con l'ausilio del motore Mio nonno preferiva per la villeggiatura Portare i suoi parenti coi bagagli in carrozzella L'aria della campagna carica di letame Spostava vibrazioni di una vita troppo bella Correvano veloci su quelle giardiniere La gente si sbracciava salutando alle frontiere La vita, ci prendeva con strana frenesia Guardare il fumo uscire dalle macchine a vapore Giocavano sull'aia bambini e genitori Calasso li avvertiva dal Corriere della Sera: "Copritevi che fa freddo, mettetevi le galosce"... Good vibrations, Satisfaction, sole mio Cinderella mit violino, Lux aeterna Galileo, douce France, Nietzsche-Lieder Kurosawa, meine Liebe Mister Einstein on the beach Mister Einstein on the beach Passaggi a livello © 1980 Franco Battiato "Passaggi a livello" is like an elegy for times past, capped off with a sequence of song titles and names.

They ran fast through the tunnels – the trains of another time transported spies. In the sleeping cars, spouses on honeymoon made love with the help of the engine. My grandpa preferred, for the holiday, to bring his relatives, their bags in a wheelchair. The country air suffused with manure displaced the vibe of a life too fine. They ran fast on those Giardinieras (Fiat). People waved their arms, waving at the borders. Life, it grabbed us with strange frenzy, watching the smoke emit from the steam engines. They played in the farmyard, kids and parents. Calasso warned them from the Corriere della Sera: “Cover yourselves in the cold, put on your galoshes” . . . Good vibrations, Satisfaction, sole mio Cinderella with violin, Eternal Light Galileo, Sweet France, Nietzsche-Lieder Kurosawa, Meine Liebe Mister Einstein on the beach Mister Einstein on the beach English translation © 2020 Dennis Criteser Patriots was released in 1980. In the lyrics of this album, there emerge a greater emphasis on irony, the use of foreign languages, and the stringing together of disconnected phrases into montages that may or may not yield meaning upon further analysis, and whose purpose may at times be as much musical as semantic. As is typical with Battiato, there are references to literature, art, philosophy, religion, and music, along with snapshots of personal memories, that form a mix of both high and everyday culture.

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L'Era del Cinghiale Bianco - The Age of the White Boar

In 1975, Battiato met Karlheinz Stockhausen, who encouraged him to learn traditional music notation and to study music theory. Battiato set himself on a course of self-study and immersed himself in the world of classical music. He also studied violin with Giusto Pio, who became a collaborator and musician on many subsequent albums. From 1976 through 1979 Battiato practically lived the life of a hermit as he pursued his sonic and musical research. He emerged occasionally to concertize, presentations that were long on improvisation based on various themes he was exploring and developing. He also continued to write music and produce work for other artists. Battiato’s own albums during these years were minimalist “contemporary classical” in nature, leaning on the piano, violin, voice, and occasionally other orchestral instruments for their tonality. The 1978 album Egitto prima delle sabie won the prestigious Stockhausen Prize in 1979 for works for solo piano. Once again, however, Battiato felt a calling to pursue a new musical direction and to break out of his cloistered existence. The “three-minute song form” became his new field of research and endeavor, and his goal was to connect with a larger audience, not by reflecting their world back to them but by describing his own internal worlds in a language that could be understood by all. L’Era del Cinghiale Bianco was his opening gambit.

L'Era del Cinghiale Bianco - The Age of the White Boar

Pieni gli alberghi a Tunisi per le vacanze estive A volte un temporale non ci faceva uscire Un uomo di una certa età Mi offriva spesso sigarette turche Ma spero che ritorni presto l'Era del Cinghiale Bianco Spero che ritorni presto l'Era del Cinghiale Bianco Profumi indescrivibili nell'aria della sera Studenti di Damasco vestiti tutti uguali L'ombra della mia identità Mentre sedevo al cinema oppure in un bar Ma spero che ritorni presto l'Era del Cinghiale Bianco Spero che ritorni presto l'Era del Cinghiale Bianco L'Era del Cinghiale Bianco © 1979 Franco Battiato The lyrics of "L'Era del Cinghiale Bianco" are classic Battiato. He strings together images and sensations to create a world in which he is living, and from which he then yearns to be delivered to a sacred higher ground.

Full, the hotels in Tunis for the summer holidays. At times a storm kept us from going out. A man of a certain age regularly offered me Turkish cigarettes. But I hope that soon shall return the Age of the White Boar. I hope that soon shall return the Age of the White Boar. Indescribable scents in the night air, students of Damascus all dressed alike, the shadow of my identity while I sat in the cinema or in a café. But I hope that soon shall return the Age of the White Boar. But I hope that soon shall return the Age of the White Boar. English translation © 2020 Dennis Criteser L'Era del Cinghiale Bianco was released in 1979 and represented a 180-degree turn from Battiato's first eight avant-garde albums, which ranged from electronica to musique concrète to minimalist piano explorations. Battiato reinvented himself as a pop singer/songwriter and in so doing created a unique sound and style he would continue to rework for the rest of his career. The songs on this album introduce several touchstones for Battiato, with references to spirituality, ancient and modern history, Arabic culture, and his native Sicily. Violinist Giusto Pio collaborated on the arrangements. The constellation that we call the Age of Aquarius was once that of the Boar. In the Celtic tradition, the White Boar symbolized spiritual knowledge, or Consciousness.

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Magic Shop

C'è chi parte con un raga della sera E finisce per cantare "la Paloma" E giorni di digiuno e di silenzio Per fare i cori nelle messe tipo Amanda Lear Vuoi vedere che l'Età dell'Oro Era appena l'ombra di Wall Street? La Falce non fa più pensare al grano Il grano invece fa pensare ai soldi E più si cresce e più mestieri nuovi Gli artisti pop, i manifesti ai muri I Mantra e gli Hare Hare a mille lire L'Esoterismo di René Guénon Una Signora vende corpi astrali I Budda vanno sopra i comodini Deduco da una frase del Vangelo Che è meglio un imbianchino di Le Corbusier Eterna è tutta l'arte dei Musei Carine le Piramidi d'Egitto Un po' naifs i Lama tibetani Lucidi e geniali i giornalisti Supermercati coi reparti sacri che vendono Gli incensi di Dior Rubriche aperte sui peli del Papa Magic Shop © 1979 Franco Battiato "Magic Shop" is a commentary on the commercialization of art, culture and religion in the New Age movement.

There are those who start off with an evening raga and end up singing “La Paloma.” And days of fasting and silence to sing harmonies in the masses à la Amanda Lear. Do you want to bet that the Golden Age was but a mere shadow of Wall Street? The scythe no longer makes you think of grain; instead, dough makes you think of money. The more you grow up, the more new professions: pop artists, handbills on the walls. Mantras and the “Hare Hare” for a thousand lira, the esotericism of René Guénon. A lady sells astral bodies – the Buddhas go above the night stands. I deduce from a line in the Bible that a housepainter is better than Le Corbusier. Eternal is all the art of the museums, cute the pyramids of Egypt. A little “naïve art” the Tibetan lamas, clear and brilliant the journalists. Supermarkets with holy departments that sell the incenses of Dior, opinion columns on the hairs of the Pope. English translation © 2020 Dennis Criteser L'Era del Cinghiale Bianco was released in 1979 and represented a 180-degree turn from Battiato's first eight avant-garde albums, which ranged from electronica to musique concrète to minimalist piano explorations. Battiato reinvented himself as a pop singer/songwriter and in so doing created a unique sound and style he would continue to rework for the rest of his career. The songs on this album introduce several touchstones for Battiato, with references to spirituality, ancient and modern history, Arabic culture, and his native Sicily. Violinist Giusto Pio collaborated on the arrangements. The constellation that we call the Age of Aquarius was once that of the Boar. In the Celtic tradition, the White Boar symbolized spiritual knowledge, or Consciousness.

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Strade dell'Est - Roads of the East

Carichi i treni che dall'Albania Portano tanti stranieri in Siberia Tappeti antichi mercanti indiani Mettono su case tra Russia e Cina Strade dell'Est Spinto da i Turchi e dagli Iracheni Qui fece campo Mustafà Mullah Barazani Strade dell'Est d'immensi orizzonti Città nascoste di lingua persiana Da qui la Fine Dicono storie di Principesse Chiuse in castelli per troppa bellezza Fiori di Loto giardini stupendi ...e Leningrado oggi Di notte ancora ti può capitare Di udire suoni di armonium sfiatati E vecchi curdi che da mille anni Offrono il petto a Novene... Strade dell'Est Strade dell'Est © 1979 Franco Battiato "Strade dell'Est" references Mustafà Mullah Barzani, who was the primary political and military leader of the Kurdish revolution until his death in March 1979. He led campaigns of armed struggle against both the Iraqi and Iranian governments. A Novena is an ancient tradition of devotional praying in Christianity. The song starts with some fine bass playing; the bassist on the entire album was Julius Farmer, who hailed from New Orleans and played with Professor Longhair, Dr. John and the Wild Magnolias - no wonder it sounds so great!

Laden, the trains that from Albania carry so many foreigners to Siberia. Antique carpets Indian merchants place in houses between Russia and China. Roads of the East. Driven by the Turks and by the Iraqis here Mustafà Mullah Barzani set up camp. Roads of the East of immense horizons, lost cities of Persian language. From here the End. They tell tales of Princesses kept in castles – too great was their beauty. Lotus flowers, stupendous gardens . . . and Leningrad today. At night you can still happen upon hearing the sounds of aerophone harmoniums, and old Kurds who for a thousand years have offered their souls at Novenas . . . roads of the East. English translation © 2020 Dennis Criteser L'Era del Cinghiale Bianco was released in 1979 and represented a 180-degree turn from Battiato's first eight avant-garde albums, which ranged from electronica to musique concrète to minimalist piano explorations. Battiato reinvented himself as a pop singer/songwriter and in so doing created a unique sound and style he would continue to rework for the rest of his career. The songs on this album introduce several touchstones for Battiato, with references to spirituality, ancient and modern history, Arabic culture, and his native Sicily. Violinist Giusto Pio collaborated on the arrangements. The constellation that we call the Age of Aquarius was once that of the Boar. In the Celtic tradition, the White Boar symbolized spiritual knowledge, or Consciousness.

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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 L'Era del Cinghiale Bianco was released in 1979 and represented a 180-degree turn from Battiato's first eight avant-garde albums, which ranged from electronica to musique concrète to minimalist piano explorations. Battiato reinvented himself as a pop singer/songwriter and in so doing created a unique sound and style he would continue to rework for the rest of his career. The songs on this album introduce several touchstones for Battiato, with references to spirituality, ancient and modern history, Arabic culture, and his native Sicily. Violinist Giusto Pio collaborated on the arrangements. The constellation that we call the Age of Aquarius was once that of the Boar. In the Celtic tradition, the White Boar symbolized spiritual knowledge, or Consciousness.

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