Tropea: “The Serole album is our story, it’s instinct that wins over love”


THE Tropeagreat protagonists a X Factor 2022 (WATCH THE SPECIAL)release their first album Serole, out with peermusic ITALY And Artist First. Serole it is the sense of concreteness that i Tropea they wanted to give to a long journey of recordings and creation, which began years ago in a remote farmhouse in the Langhe, right in Serole, another place of the band’s soul and a destination for periodic “spiritual retreats”, in which they found shelter from external world, which allowed him to conceive the ten tracks contained in the album.

Serole it’s an intuition that started in 2017 and therefore it’s been a journey that’s now seven years long: I ask you how you thought about the choice of songs and then, given the long journey, where does the expressive urgency find itself?
Let’s have two parallel discussions. The idea of ​​the album was there from the beginning as a fantasy. The first release made in an artisanal way by a friend coincides with the uploading of the first things on Spotify. We don’t think about the practical aspect of the discography but we think about our being and the concerts. Then we structured ourselves with people who asked us to release music and a single and then another single… so we arrived at Serole, the first recording operation started by us. Contains songs written for urgency not for publication. The urgency is not in the songs, but it is ours, expressive and artistic, linked to the urge to publish even old songs because otherwise they would not have found a way to exist. We didn’t lose our nature.

The album cover represents a group of twenty-year-olds climbing the hill of life, each at their own pace: Serole Has the pace standardized or are the trends still different?

The trend is not uniform but there is a religious respect for what the songs are. It depicts a January 1st immortalized by Giovanni Pagani: it is a cover consistent with the recordings, the ideas and what happened.

“I think I don’t think but then I think I would love you”: Giorgio Gaber already sang E Pensare che c’era il pensiero in 1994. You use the verb three times in one verse. In love you have to think before loving or you have to love without thinking and what will be… will be?

We have passed Giorgo Gaber and it is already important. Thought and love do not come together except in philosophy. Long live the vocation. No matter how hard you try to put thought before love, trying to repress certain instincts and drives doesn’t work, instinct wins.

You Believe That seems to tell the disorientation not only of a generation but of an era: “Without even a hint that betrays a hesitation or the slightest hesitation”. The rule today is if you can’t convince you confuse or always believe even if you have a friend who always lies to you?

It’s a featuring with Marco Castello. For us it means always believing, the friend who believes in you wants your best. The important thing is to have many friends, both those who lie and those who put the truth in your face. To confuse? It depends on the situation and nature.

The beginning of Disco and its “no I really don’t want to do anything” has me remembered The Craft of Living by Cesare Pavese, written during the confinement period with quick and incisive sentences: in your song, as in his diary, I find the difficulty of combining the clarity of life with the fear of facing it. Can the evocative character of your song overcome doubt?

At least the textual part is born following instinct, the musical part is improvisation. It’s an intersection between inspiration, moment and error. We are pleased with the bridge with Cesare Pavese, but we followed our instinct and then accepted it, we never changed the initial improvised version.

If it’s true that you can live for a hundred years by minding your own shit, have you who tell true stories and therefore don’t do them have taken into account dying at 99?

Even before. We are not inspired by the future that comes from the world and is part of our generation. Irony is the result of this situation. Whoever dies afterwards really dies… it should be a quote from Eduardo De Filippo. He is afraid of surviving the death of others. Existence must be happy so if it ended soon we would enjoy it.

Because the depression you tell in Sick is it in English?
The language of memes is permeated with black irony about depression. The first one is good here too: Sick was born in the first month of the lockdown in a dark and horrible atmosphere, permeated with death and sadness. It came out like this, the English language is linked to the ironic mimetic of our generation. We don’t want to exclude the listener even if English creates a language barrier and disguises.

And why the ending of All My Life, after having followed the natural and vital movement of the sun, does it become a form of hiding from oneself? And if individually you haven’t found your place in the world, have you collectively found your place in music?
The whole text wants to be a little hermetic, it drops at the end. It’s a song from 2016 and those feelings were already there. We look for the sun, what we like, passions but uncertainty remains: will it take us somewhere? We do not know. There is almost a fear of facing the darkness inside us. It is integrated into the instrumental of the interviews you listen to. There is the dualism between Paolo, owner of the Picchio bar who took music lessons as a young man because he had lost the bar, and then we sing about our somewhat wasted life in dynamics that the Picchio bar created for us by spending so much time there.

Rebellion It seems like an airtight version of to me Encounter by Francesco Guccini: are the two years older of the protagonists yearning and melancholy or acceptance and fatalism? Because even in Words there is the concept of finding oneself and there are no words for you or for me. I often have the feeling that the true protagonist of your music is absence. Or the absent one.

We want to pay attention to the sounds of how the words sound, let’s let go of the author’s leash. The theme starts from acceptance: time passes and I can’t grow old trying to keep up with it. These people accept themselves for who they are. It is an absence that is filled. In Words the chorus was born in a more hedonistic way, looking for a phrase that sounded good. It is what it is.

Resolution for 2024: no more lumps in the back of your throat even if they are to play all the time.

We bless the knots because we scratch them off while singing with the hope that they will bring us satisfaction and concerts. They are good for you, music is a catharsis but sometimes you have to get rid of it for your health.

What can you tell me about the live shows and what will happen in your life in this incipit of 2024.
We answer with one word: concerts. We want to combine music with facts. It would be belittling to create more music now.



Source-tg24.sky.it