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We are Matteo Piermartini (vocals), Giuseppe Maria Ceccarini (drums), Andrea Romoli (bass), Daniele Gregori (guitar), Saverio Beccaccioli (trombone and guitar) and Niccolò Testa (trumpet and keyboards), better known as Studio Illegale. We come from Vallerano, a small enchanted village in Tuscia and for many we are the ones who make indies, but with “trumpets”. Yes, because the use of wind instruments in our songs is a stylistic figure that has distinguished us since our debut. And if you’re wondering why we call ourselves that…well, the answer doesn’t exist. During a slightly tipsy evening we started mixing names at random, without a precise logic. And this is the result. We often find ourselves listening to songs that remind us of a name, a face, a smell, and a picture; certain notes speak and suggest words to us that we would not even be able to pronounce.
In fact, this is ours Cursed Song it is the cry of those who are always silent, of those who have suffered for the loss of a love, and of those who will see the other’s eyes get lost among the people, become innocent and unknown; as if nothing ever happened. Hoping for a return that will never happen and continuing to fall in love, more and more, with an idea that gets lost in the spring breeze. The truth is that we are protagonists only of our own history, while in that of others we have secondary roles and we need to get over this because unfortunately fairy tales are and will always remain for children. Of course, love at twenty really hurts. But seriously bad. We are romantics and dreamers, we are young but aware. A delicate intimate ballad suspended between the rhythm of the acoustic guitar and the colors of the keyboard, then ends with a trumpet solo intertwined with an almost recited part. The scenes of the refrain, in the video made by the director Gabriele Rosciglione, are constructed in such a way that our bodies are left to rest; motionless, like damp olive logs while they burn among flows of foreign people who continuously disperse in the first floor of the room. The verses, on the contrary, see us come to life again, in an empty and abandoned theatre, surrounded by white balloons at our feet, which identify faces that no longer have a name, a colour, a thought, let alone an identity. Dynamic but static at the same time, a bit like us, a bit like the feelings we chase and feel and describe. This alternation of meanings is framed in our playback between a deliberately minimal scenography and our close-ups. We then wanted to emphasize the text with a series of white signs in Bob Dylan’s “Subterranean Homesick Blues” style. On these the fundamental concepts of the piece are written with a black marker. We are six guys, whose only influences, apart from the seasonal ones, are due to the Italian songwriting and the lyricism of indie-pop sounds. “Maledetta Canzone” is a taste of our new album entitled “Troppo Tardi” out for La Grande Onda and Redgoldgreen.