Colombre: “Magical Realism in the Adriatic follows the course of humanity”

A disc poised between reality and imagination, between life and dream. An album where appearances deceive and hide agitated, restless, alienating waves. “Magical realism in the Adriatic” is the new album by Colomber for Bomba Discs. Anticipated by singles”Nothing is as it seems”, “It would last an hour” And “You and I of course”enhanced by collaborations with Maria Antonietta And Frank 126, is a record on which to float slightly but which at the same time is able to immerse yourself deeply in thoughts and emotions, translating them into apparently simple and immediate songs, but capable of hiding an underwater world full of nuances to discover. “Magical realism in the Adriatic” has that ethereal and immediate sound, which hides great attention to every textual and sound detail, and that love for games and sound experiments that have always made Colomberborn Giovanni Imparato, immediately recognizable and identifying.

Giovanni let’s start from the journey you made along your Adriatic, from South to North: what or who were you looking for?

What is a little hidden, stories that start from reality, characters that tell stories that are a little out of the ordinary. I look for the real that is turned inside out in the wizarding world.
If for Shakespeare, as ne says The Taming of the Shrewthe Adriatic is the most dangerous sea in the world, what is it for you?

It is a geographical place but also the symbol of a secluded and provincial world. But it has great strength and hidden and fascinating stories.
Adriatic is also the Po Delta and Polesine. It is the river that meets the sea. Can these so different waters that invade each other represent the restlessness that exists in many of your texts?

Surely. I like the dichotomy between color and shadows, even my artistic name, Colombre, comes from the story of Dino Buzzati. Those encounters create whirlwind, living things.
The magical realism that inspires you is about to celebrate its first century of life, its birth is dated 1925. It has influenced art and literature. Is your idea to give it a soundtrack now?

Others tried it before me, I don’t dare approach far more famous artists. I imagine the drive as a day trip along the coast. In my head there are all the timetables. I’m happy with this.
In Marrow you say that to feel good a rock would be enough for you which, ironically, is the element that is missing in the Adriatic.

It’s true but for me the rocks are the barriers that humans put up to protect the beach. The rock is a bit like that, it’s protection. And in any case, in the Conero area you will encounter real rocks.
More than before it is a flow of memories: what relationship do you have with them? Do you keep them all or do you know how to select and archive them?

I’m not very nostalgic… I let things flow. What interests me most is that they come back when you least expect it. I like the memory to be free, to be part of me…I think of my grandfather who often sang the song Like before which is then the element that starts the song. Memories are in the air like songs.
Is the love that lies beneath the ashes a painful love?

It also rhymes with pain. The ash preserves it, it is cure. You have to work on it, it’s not just instinct and romanticism, it’s a set of things that you keep alive under the ashes.
You and I certainly the deluded ever: today the illusion is saving or detaches you dangerously from reality? Leopardi wrote that the most solid pleasure of this life is the vain pleasure of illusions.

The illusion is useful if it is linked to the dream, in the song it is positive because we give the word a second chance, we delude ourselves that we are dreamers.
Curse And It would last an hour they strongly convey the sense of failure and loneliness: do we live in an era of upside-down shirts? Also in Natural you don’t see the sea from this room: with that if I win and if I lose can’t you see that it’s the same there is a sense of helplessness and indifference.

The first two you mention arise from a feeling of anger that exists and must be told. There’s also the disillusionment of carpe diem, those moments you consume but leave you with nothing because you have to aim for something that lasts longer.
If closed in a room nothing is as it seems, couldn’t you bring the sky into that room with magical realism?

I’m not up to it and then a great poet has already thought about it. I liked the image of the closed person who doesn’t see the sea.
The key element of the album is the place. Or perhaps the non-place: you would like to take a plane and change it, then there is the memory that takes you to places you no longer went: do you feel more stateless or more disoriented?

I like to think that I am stateless and without a country. Vague but I know where to go, the bewildered instead wanders aimlessly. My homeland is the Adriatic. I am a sui generis stateless person.
In the end can we say that today you know how to handle the high tide and your eyes are used to the dark?

The concept is related to a loss and you have to get used to it to move forward. If life goes on you know you will meet more darkness because darkness is around the corner and you have to know how to face it.
What can you tell me about the tour and what will happen in the next weeks?
I have a new band formed by Giulia Formica, Fausto Cigarini and Ilaria Ciampolini and I work with them to better prepare the concert. We’ve already done some testing. In order not to miss anything, I’m co-producing Chiello’s new album with others. Meanwhile Panico Concerti is working to set up my summer calendar.