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tutyayilmazz · 8 months

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The sheer number of older and more experienced professionals involved in Måneskin introduces a tension between the rock conventions that characterize their songwriting and the fundamentally pop circumstances under which those songs are produced. They are four friends in a band, but that band is inside an enormous machine. From their perspective, though, the machine is good.

The American visitor to Rome arrives with certain preconceptions that feel like stereotypes but turn out to be basically accurate. There really are mopeds flying around everywhere, and traffic seems governed by the principle that anyone can be replaced. Breakfast is coffee and cigarettes. Despite these orthopedic and nutritional hazards, everyone is better looking — not literally everyone, of course, but statistically, as if whatever selective forces that emerge from urban density have had an extra hundred generations or so to work. And they really do talk like that, an emphatic mix of vowels, gestures and car horns known as “Italian.” To be scolded in this language by a driver who wants to park in the crosswalk is to realize that some popular ideas are actually true. Also, it is hot.

The triumphant return to Rome of Måneskin — arguably the only rock stars of their generation, and almost certainly the biggest Italian rock band of all time — coincided with a heat wave across Southern Europe. On that Tuesday in July the temperature hit 107 degrees. The Tiber looked thick, rippled in places and still in others, as if it were reducing. By Thursday morning the band’s vast management team was officially concerned that the night’s sold-out performance at the Stadio Olimpico would be delayed. When Måneskin finally took the stage around 9:30 p.m., it was still well into the 90s — which was too bad, because there would be pyro.

There was no opening act, possibly because no rock band operating at this level is within 10 years of Måneskin’s age. The guitarist Thomas Raggi played the riff to “Don’t Wanna Sleep,” the lights came up and 60,000 Italians screamed. Damiano David — the band’s singer and, at age 24, its oldest member — charged out in black flared trousers and a mesh top that bisected his torso diagonally, his heavy brow and hypersymmetrical features making him look like some futuristic nomad who hunted the fishnet mammoth. Victoria De Angelis, the bassist, wore a minidress made from strips of leather or possibly bungee cords. Raggi wore nonporous pants and a black button-down he quickly discarded, while Ethan Torchio drummed in a vest with no shirt underneath, his hair flying. For the next several minutes of alternately disciplined and frenzied noise, they sounded as if Motley Crüe had been cryogenically frozen, then revived in 2010 with Rob Thomas on vocals.

That hypothetical will appeal to some while repelling others, and which category you fall into is, with all due respect, not my business here. Rolling Stone, for its part, said that Måneskin “only manage to confirm how hard rock & roll has to work these days to be noticed,” and a viral Pitchfork review called their most recent album “absolutely terrible at every conceivable level.” But this kind of thumbs up/thumbs down criticism is pretty much vestigial now that music is free. If you want to know whether you like Måneskin — the name is Danish and pronounced MOAN-eh-skin — you can fire up the internet and add to the more than nine billion streams Sony Music claims the band has accumulated across Spotify, YouTube, et cetera. As for whether Måneskin is good, de gustibus non est disputandum, as previous Italians once said: In matters of taste, there can be no arguments.

You should know, though, that even though their music has been heard most often through phone and laptop speakers, Måneskin sounds better on a soccer field. That is what tens of thousands of fans came to the Stadio Olimpico on an eyelid-scorching Thursday to experience: the culturally-if-not-personally-familiar commodity of a stadium rock show, delivered by the unprecedented phenomenon of a stadium-level Italian rock band. The pyro — 20-foot jets of swivel-articulated flame that you could feel all the way up in the mezzanine — kicked in on “Gasoline,” a song Måneskin wrote to protest Vladimir Putin’s invasion of Ukraine. From a thrust platform in the center of the field, David poured his full emotive powers into the pre-chorus: “Standing alone on that hill/using your fuel to kill/we won’t take it standing still/watch us dance.”

The effect these words will have on President Putin is unknown. They capture something, though, about rock ’n’ roll, which has established certain conventions over the last seven decades. One of those conventions is an atmosphere of rebellion. It doesn’t have to be real — you probably don’t even want it to be — but neither can it seem too contrived, because the defining constraint of rock as a genre is that you have to feel it. The successful rock song creates in listeners the sensation of defying consensus, even if they are right in step with it.

The need to feel the rock may explain the documented problem of fans’ taste becoming frozen in whatever era was happening when they were between the ages of 15 and 25. Anyone who adolesced after Spotify, however, did not grow up with rock as an organically developing form and is likely to have experienced the whole catalog simultaneously, listening to Led Zeppelin at the same time they listened to Pixies and Franz Ferdinand — i.e. as a genre rather than as particular artists, the way my generation (I’m 46) experienced jazz. The members of Måneskin belong to this post-Spotify cohort. As the youngest and most prominent custodians of the rock tradition, their job is to sell new, guitar-driven songs of 100 to 150 beats per minute to a larger and larger audience, many of whom are young people who primarily think of such music as a historical artifact. Starting this month, Måneskin will take this business on a multivenue tour of the United States — a market where they are considerably less known — whose first stop is Madison Square Garden.

“I think the genre thing is like ... ” Torchio said to me backstage in Rome, making a gesture that conveyed translingual complexity. “We can do a metaphor: If you eat fish, meat and peanuts every day, like for years, and then you discover potatoes one day, you’ll be like: ‘Wow, potatoes! I like potatoes; potatoes are great.’ But potatoes have been there the whole time.” Rock was the potato in this metaphor, and he seemed to be saying that even though many people were just now discovering that they liked it, it had actually been around for a long time. It was a revealing analogy: The implication was that rock, like the potato, is here to stay; but what if rock is, like the potato in our age of abundance, comparatively bland and no longer anyone’s favorite?

Which rock song came first is a topic of disagreement, but one strong candidate is “Rocket 88,” recorded by Ike Turner and his Kings of Rhythym band in 1951. It’s about a car and, in its final verse, about drinking in the car. These themes capture the context in which rock ’n’ roll emerged: a period when household incomes, availability of consumer goods and the share of Americans experiencing adolescence all increased simultaneously.

Although and possibly because rock started as Black music, it found a gigantic audience of white teenagers during the so-called British Invasion of the mid-1960s (the Beatles, the Rolling Stones, the Who), which made it the dominant form of pop music for the next two decades. The stadium/progressive era (Journey, Fleetwood Mac, Foreigner) that now constitutes the bulk of classic-rock radio gave way, eventually, to punk (the Ramones, Patti Smith, Minor Threat) and then glam metal: Twisted Sister, Guns N’ Roses and various other hair-intensive bands that were obliterated by the success of Nirvana and Pearl Jam in 1991. This shift can be understood as the ultimate triumph of punk, both in its return to emotive content expressed through simpler arrangements and in its professed hostility toward the music industry itself. After 1991, suspicion of anything resembling pop became a mark of seriousness among both rock critics and fans.

It is probably not a coincidence that this period is also when rock’s cultural hegemony began to wane. As the ’90s progressed, larger and again whiter audiences embraced hip-hop, and the last song classified as “rock” to reach No. 1 on the Billboard Hot 100 was Nickelback’s “How You Remind Me” in 2001. The run of bands that became popular during the ’00s — the Strokes, the Killers, Kings of Leon — constituted rock’s last great commercial gasp, but none of their singles charted higher than No. 4. Let us say, then, that the era of rock as pop music lasted from 1951 to 2011. That’s a three-generation run, if you take seriously rock’s advice to get drunk and have sex in the car and therefore produce children at around age 20. Baby boomers were the generation that made rock a zillion-dollar industry; Gen X saved it from that industry with punk and indie, and millennials closed it all out playing Guitar Hero.

The members of Måneskin are between the ages of 22 and 24, situating them firmly within the cadre of people who understand rock in the past tense. De Angelis, the bassist, and Raggi, the guitarist, formed the band when they were both attending a music-oriented middle school; David was a friend of friends, while Torchio was the only person who responded to their Facebook ad seeking a drummer. There are few entry-level rock venues in Rome, so they started by busking on the streets. In 2017, they entered the cattle-call audition for the Italian version of “The X Factor.” They eventually finished as runners-up to the balladeer Lorenzo Licitra, and an EP of songs they performed on the show was released by Sony Music and went triple platinum.

In 2021, Måneskin won the Sanremo Music Festival, earning the right to represent Italy with their song “Zitti e Buoni” (whose title roughly translates to “shut up and behave”) in that year’s Eurovision Song Contest. This program is not widely viewed in the United States, but it is a gigantic deal in Europe, and Måneskin won. Not long after, they began to appear on international singles charts, and “I Wanna Be Your Slave” broke the British Top 10. A European tour followed, as well as U.S. appearances at festivals and historic venues.

This ascent to stardom was not unmarred by controversy. The Eurovison live broadcast caught David bending over a table offstage, and members of the media accused him of snorting cocaine. David insisted he was innocent and took a drug test, which he passed, but Måneskin and their management still seem indignant about the whole affair. It’s exactly this kind of incongruous detail — this damaging rumor that a rock star did cocaine — that highlights how the Italian music-consuming public differs from the American one. Many elements of Måneskin’s presentation, like the cross-dressing and the occasional male-on-male kiss, are genuinely upsetting to older Italians, even as they seem familiar or even hackneyed to audiences in the United States.

“They see a band of young, good-looking guys that are dressing up too much, and then it’s not pure rock ’n’ roll, because you’re not in a garage, looking ugly,” De Angelis says. “The more conservative side, they’re shocked because of how we dress or move onstage, or the boys wear makeup.”

She and her bandmates are caught between two demographics: the relatively conservative European audience that made them famous and the more tolerant if not downright desensitized American audience that they must impress to keep the ride moving. And they do have to keep it moving, because — like many rock stars before them — most of the band dropped out of high school to do this. At one point, Raggi told me that he had sat in on some classes at a university, “Just to try to understand, ‘What is that?’”

One question that emerged early in my discussions with Måneskin’s friendly and professional management team was whether I was going to say that their music was bad. This concern seemed related to the aforementioned viral Pitchfork review, in which the editor Jeremy Larson wrote that their new album, “RUSH!” sounds “like it’s made for introducing the all-new Ford F-150” and “seems to be optimized for getting busy in a Buffalo Wild Wings bathroom” en route to a score of 2.0 (out of 10). While the members of Måneskin seemed to take this review philosophically, their press liaisons were concerned that I was coming to Italy to have a similar type of fun.

Here I should disclose that Larson edited an essay I wrote for Pitchfork about the Talking Heads album “Remain in Light” (score: 10.0) and that I think of myself as his friend. Possibly because of these biases, I read his review as reflecting his deeply held and, among rock fans, widely shared need to feel the music, something that the many pop/commercial elements of “RUSH!” (e.g. familiar song structures, lyrics that seem to have emerged from a collaboration between Google Translate and Nikki Sixx, compulsive use of multiband compression) left him unable to do.

This perspective reflects the post-’90s rock consensus (PNRC) that anything that sounds too much like a mass-market product is no good. The PNRC is premised on the idea that rock is not just a structure of song but also a structure of relationship between the band and society. From rock’s earliest days as Black music, the real or perceived opposition between rocker and society has been central to its appeal; this adversarial relationship animated the youth and counterculture eras of the ’60s and then, when the economic dominance of mass-market rock made it impossible to believe in, provoked the revitalizing backlash of punk. Even major labels felt obliged to play into this paradoxical worldview, e.g. that period after Nirvana when the most popular genre of music was called “alternative.” Måneskin, however, are defined by their isolation from the PNRC. They play rock music, but operate according to the logic of pop.

In Milan, where Måneskin would finish their Italian minitour, I had lunch with the band, as well as two of their managers, Marica Casalinuovo and Fabrizio Ferraguzzo. Casalinuovo had been an executive producer working on “The X Factor,” and Ferraguzzo was its musical director; around the time that Måneskin broke through, Casalinuovo and Ferraguzzo left the show and began working with the stars it had made. We were at the in-house restaurant of Moysa, the combination recording studio, soundstage, rehearsal space, offices, party venue and “creative playground” that Ferraguzzo opened two months earlier. After clarifying that he was in no way criticizing major record labels and the many vendors they engaged to record, promote and distribute albums, he laid out his vision for Moysa, a place where all those functions were performed by a single corporate entity — basically describing the concept of vertical integration.

Ferraguzzo oversaw the recording of “RUSH!” along with a group of producers that included Max Martin, the Swedish hitmaker best known for his work with Backstreet Boys and Britney Spears. At Moysa, Ferraguzzo played for me Måneskin’s then-unreleased new single, “Honey (Are U Coming?)” which features many of the band’s signature moves — guitar and bass playing the same melodic phrases at the same time, unswung boogie-type rhythm of the post-Strokes style — but also has David singing in a higher register than usual. I listened to it first on studio monitors and then through the speaker of Ferraguzzo’s phone, and it sounded clean and well produced both times, as if a team of industry veterans with unlimited access to espresso had come together to perfect it.

“There’s hundreds of people working and talking about you and giving opinions,” De Angelis said at lunch. “So if you start to get in this loop of wanting to know and control and being anxious about it, it really ruins everything.” Here lies the conflict between what the PNRC wants from a band — resistance to outside influences, contempt for commerce, authenticity as measured in doing everything themselves — and what any sane 23-year-old would want, which is to have someone with an M.B.A. make all the decisions so she can concentrate on playing bass.

The other way Måneskin is isolated from the PNRC is geographic. Over the course of lunch, it became clear that they had encyclopedic knowledge of certain eras in American rock history but were only dimly aware of others. Raggi, for instance, loves Motley Crüe and has an album-by-album command of the Los Angeles hair-metal band Skid Row, which he and his bandmates seemed to understand were supposed to be guilty pleasures. But none of them had ever heard of Fugazi, the post-hardcore band whose hatred of major labels, refusal to sell merchandise and commitment to keeping ticket prices as low as possible set the standard for a generation of American rock snobs. In general, Måneskin’s timeline of influences seems to break off around 1990, when the rock most respected by Anglophone critics was produced by independent labels that did not have strong overseas distribution. It picks up again with Franz Ferdinand and the “emo” era of mainstream pop rock. This retrospect leaves them unaware of the indie/punk/D.I.Y. period that was probably most important in forming the PNRC.

The question is whether that consensus still matters. While snobs like Larson and me are overrepresented in journalism, we never constituted a majority of rock fans. That’s the whole point of being a snob. And snobbery is obsolete anyway; digital distribution ended the correlation between how obscure your favorite band was and how much effort you put into listening to them. The longevity of rock ’n’ roll as a genre, meanwhile, has solidified a core audience that is now between the ages of 40 and 80, rendering the fan-versus-society dimension of the PNRC impossible to believe. And the economics of the industry — in which streaming has reduced the profit margin on recorded music, and the closure of small venues has made stadiums and big auditoriums the only reliable way to make money on tour — have decimated the indie model. All these forces have converged to make rock, for the first time in its history, merely a way of writing songs instead of a way of life.

Yet rock as a cluster of signifiers retains its power around the world. In the same way everyone knows what a castle is and what it signifies, even though actual castles are no longer a meaningful force in our lives, rock remains a shared language of cultural expression even though it is no longer determining our friendships, turning children against their parents, yelling truth at power, et cetera. Also like a castle, a lot of people will pay good money to see a preserved historical example of rock or even a convincing replica of it, especially in Europe.

In Milan, the temperature had dropped 20 degrees, and Måneskin’s show at Stadio Giuseppe Meazza — commonly known as San Siro, the largest stadium in Italy, sold out that night at 60,000 — was threatened by thunderstorms instead of record-breaking heat. Fans remained undaunted: Many camped in the parking lot the night before in order to be among the first to enter the stadium. One of them was Tamara, an American who reported her age as 60½ and said she had skipped a reservation to see da Vinci’s “Last Supper” in order to stay in line. “When you get to knocking on the door, you kind of want to do what you want,” she said.

The threat of rain was made good at pretty much the exact moment the show began. The sea of black T-shirts on the pitch became a field of multicolored ponchos, and raindrops were bouncing visibly off the surface of the stage. David lost his footing near the end of “I Wanna Be Your Slave,” briefly rolling to his back, while De Angelis — who is very good at making lips-parted-in-ecstasy-type rock faces — played with her eyes turned upward to the flashing sky, like a martyr.

The rain stopped in time for “Kool Kids,” a punk-inspired song in which David affects a Cockney accent to sing about the vexed cultural position of rock ’n’ roll: “Cool kids, they do not like rock/they only listen to trap and pop.” These are probably the Måneskin lyrics most quoted by music journalists, although they should probably be taken with a grain of salt, considering that the song also contains lyrics like “I like doin’ things I love, yeah” and “Cool kids, they do not vomit.”

“Kool Kids” was the last song before the encore, and each night a few dozen good-looking 20-somethings were released onto the stage to dance and then, as the band walked off, to make we’re-not-worthy bows around Raggi’s abandoned guitar. The whole thing looked at least semichoreographed, but management assured me that the Kool Kids were not professional dancers — just enthusiastic fans who had been asked if they wanted to be part of the show. I kept trying to meet the person in charge of wrangling these Kool Kids, and there kept being new reasons that was not possible.

The regular kids, on the other hand, were available and friendly throughout. In Rome, Dorca and Sara, two young members of a Måneskin fan club, saw my notebook and shot right over to tell me they loved the band because, as Sara put it, “they allow you to be yourself.” When asked whether they felt their culture was conservative in ways that prevented them from being themselves, Dorca — who was 21 and wearing eyeglasses that looked like part of her daily wardrobe and a mesh top that didn’t — said: “Maybe it turns out that you can be yourself. But you don’t know that at first. You feel like you can’t.”

Here lies the element of rock that functions independently from the economics of the industry or the shifting preferences of critics, the part that is maybe independent from time itself: the continually renewed experience of adolescence, of hearing and therefore feeling it all for the first time. But how disorienting must those feelings be when they have been fully monetized, fully sanctioned — when the response to your demand to rock ’n’ roll all night and party every day is, “Great, exactly, thank you.” In a culture where defying consensus is the dominant value, anything is possible except rebellion. It must be strange, in this post-everything century, to finally become yourself and discover that no one has any problem with that.

#måneskin #maneskin #i had a free nyt article so here you go #the article is so painfully a middle aged american perspective #which the author admits #and like thinking the fans on stage is staged?!??#or like how there can be no more authentic rebellion - maybe that's what it's like from your cushy position #but doesn't go into tdi at all #the stuff about the industry surrounding them i agree and its worth the read though

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howtotrainyourrei · 3 months

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anywho here are maneskins albums ranked according to which ones i like best, if you're also into them i would love to hear your thoughts (this is also LONG AS FUCK)

1. TEATRO D'IRA

this was the first one i listened to, i dont even remember why, i vaguely remember thinking of beggin' and being like,, omg i remember that song, i wonder if they have any good albums. so i googled which maneskin album was best and MY LIFE WAS TRANSFORMED. every single song on this album is such a banger there are no skips, like usually on albums i like there are at least a couple songs where i'm like,, ehhh could be better. NOT HERE. idk which song is my favourite i think it's a tie between IWBYS, coraline, zitti e buoni, and vent'anni (literally that is half of the album, that's how good it is).

anyway i love love love the hard rock sound, but it's also not just that, like there is so much variation but it's all very cohesive. maneskin is known for their unique sound so that makes sense but my mind is still sort of boggled. it has like some harder songs but they all feel emotional?? i dont even speak italian but without even looking up the translation i almost cried from coraline because it was so beautiful. and vent'anni is ON ANOTHER LEVEL. IT IS THE PERFECT SONG TO END AN ALBUM WITH. it like combines all the ideas of the album into one song, it has hard rock elements but it still almost feels like a ballad.? GOD I LOVE THIS ALBUM. i think it might be my second fabourite album of all time now,,, it's just actually perfect. i think it's the best album i've heard in 2024. FUCK ITS SO GOOD.

2. RUSH! (ARE U COMING?)

GOD GOD GODDDDD THIS ALBUM. this is a totally different sound to any of their other albums. it's also LITERALLY DOUBLE THE LENGTH OF THEIR PREVIOUS LONGEST ALBUM (il ballo della vita, which is 34 minutes) WHICH MEANS THIS ALBUM HAS ONE HOUR AND EIGHT MINUTES OF MUSIC. TEATRO D'IRA ONLY HAS 30 MINUTES!!!! YOU DONT UNDERSTAND THIS IS REVOLUTIONARY. okay so this album was at first released just as RUSH! with five less songs, but apparently as they continued touring and stuff they felt they had more to say so they added more songs (correct me if i'm wrong but i think this is what happened). I AM OBSESSED WITH THIS ALBUM, IT IS ONCE AGAIN VERY GENIUS. the songs are almosr completely english. i really love their italian songs, but they have always wanted to write in english so i understand why they're moving back to english.

SO!! this album is so good, it has a lot of extra depth that none of their previous albums had (musically),, except for maybe il ballo della vita. like in teatro d'ira it's basically just bass, guitar, drums, vocals, and tambourine. there might be a couple other instruments but the reason that album is so strong is because of the foundation and stuff. but with rush! there is not only a strong foundation but they also had so many types of songs!!!! there were ballads, there were harder songs, but there were also weird songs like bla bla bla and kool kids. i really LOVE kool kids, i love the punk sound. i think my favourite songs are HONEY (ARE U COMING), off my face, gossip, timezone, baby said, feel, and mammamia but EVERY SONG IS SO GOOD. just like the prev albums THERE ARE NO SKIPS!! that is so crazy for me because even with my one love (david bowie's ziggy stardust and the whatever lol) there is one skip, and måneskin has THREE ALBUMS WITH NO SONGS I WANT TO SKIP. THIS IS SO RARE FOR ME YOU DONT UNDERSTAND. i got off track there back to rush. this album is, also, SO COHESIVE. despite all the different styles they try it all fits together so well, it's such a magical experience to listen to this album. okay so this album was going to be number three on this list but i'm going to switch it now bc im currently listening to it and writing this is sort of changing my mind lol, ITS SO GODDAMN GOOD. tbh i would say this album is equally aa good as teatro d'ira but i have a sentimental attachment to teatro already lol and it's also more my usual style of music.

3. Chosen (this is an ep but whatever)

so this was their first album thing they ever released, it's mostly covers but there are two originals which are the first two songs. the originals are SO GOOD expecially for being some of the first music they ever released????? im obsessed with chosen (the song), i really REALLY love the line "this is not music, this is my life, this is what i live for." IT FEELS SO TRUE BC THATS HOW I FEEL ABOUT MUSIC (i literally do not make music i just like it lol but its like an important part of my life idfk but this line just hits hard) anyway i think the reason i like this album sm is because it's a lot more lighthearted?? i really like the style of their music, how it all feels connected even though it's mostly covers. also i think i like this album so much too because i found this english translation where they competed on x factor and most of these songs were there (if anyone wants the link lmk).

my favourite song by far tho is SOMEBODY TOLD ME. GOD FUCKING DAMN THEY EXECUTED THAT SONG SO WELL. and their FUCKING PERFORMANCE on x factor that went with it was SO GODDAMN GOOD. i love watching choreography and stuff, its my fucking jam, but i dont usually feel actual emotions about it?? like obviously it was very attractive, damiano is stunning, but also it was just so gorgeous..?? i felt real emotions watching that one performance, it was so good. im going to put the link at the bottom of the post bc GOOD LORD. god that was a brilliant performance. anyway i just love the sound of this ep, it's very raw and i really love that it was when they were first starting out,,

also the goofy little intros on both of the original songs on these albums are SO FUNNY why did he do that

4. Il ballo della vita

we've reached the final album :(((( i honestly feel bad for putting it at the end, but the reason it's all the way down here is because there's actually a couple songs i don't love, so i'll say those first. the first one is immortale. i cant tell if its a bad song or not, but i think its good, i just personally dont love it lol. but the other one is "are you ready?" this song is not even that bad it's just kind of goofy, but once again, it's not my usual style of music and it's not something i think i would listen to if it wasn't maneskin.

okay now we can get into WHAT I LIKE!!!! WHICH IS LITERALLY THE REST OF THE ALBUM. this album's style is very similar actually to the chosen ep, except it's all originals, and it's also VERY EXPERIMENTAL. i love love LOVEEEE that. like you can tell this is their first lp by how many different things they try. they're finding their style BUT IT STILL REMAINS EXTREMELY IDENTIFIABLE. on x factor their little music coach guy kept emphasising that when the other judges commented on how maneskin should try different styles and saying that its more important to be recognisable, but MANESKIN DID BOTH!! they tried so many tyoes of songs with different structures and stuff, but they also remained maneskin. obviously damiano's vocals are a huge part in that, he has a distinct af voice, but it's also the other instruments, i particularly noticed vic's bass, and i love LOVE thomas's riffs OMG. this isn't even just on this album. i dont play guitar so i have no idea if he's technically skilled (i think he is???) but i LOVE HIS STYLE AND THE CLASSIC MANESKIN RIFFS OMGGGGG. anyway tho the reason this album is so good bc it has so much variation, although i would say it's not as cohesive as the other albums, even chosen. my favourite songs tho are definitely torna a casa, fear for nobody, and close to the top. torna a case is a BEAUTIFUL ballad. it's brilliant and amazing,, i LOVE that song.

also, they made a documentary about the making of this album which was so so interesting. it was very real, and you kind of get an insight into their dynamic as a band, which was just so SHAJAISISI. but it definitely made me appreciate this album more when i could actually get a look into its production. anyway listen to torna a casa it's gorgeous.

OKAY!!! this was so fun to write actually, i doubt anyone is going to read it because it's so goddamn long but if you did i am kissing you on the lips. here is the promised link to their performance of somebody told me by the killers covered by måneskin https://youtu.be/ADcTUnUJnGs?si=3Iht9sLZn2ZRbuAW

seriously, this band is so good. i'm obsessed with them yeah but they're honestly revolutionary. not only are they basically the only world famous italian band (that i know of at least?? lmk if there are any), but they do so many INTERESTING THINGS. i have been SEARCHING for a modern band who takes old music, particularly 70s bc that's what i'm into, and takes inspiration from it but still makes something original. they are doing so much for music nowadays, obviously there are lots of amazing modern rock bands, but the fact that maneskin is SO popular is crazy to me, it makes me so so happy. and not only that, it's also so amazing that there are two queer band members (vic and ethan) who (especially victoria) talk about being queer. they also act very modest in interviews and stuff, which i really appreciate, and they're all very well-spoken and good at communicating their thoughts even though it's in a second language, which can be SO FRUSTRATING sometimes bc you know what you want to say but it can be so hard in a second language. they are just very eloquent and they act very wonderful (i say "act" and "seem" bc i understand it's a parasocial relationship lol, they could all be assholes, but they seem very, VERY genuine). they all impress me a lot and i am so excited to see what they do next.

damn this is so long im sorry but i had to say this I AM OBSESSED WITH THESE GUYS, maybe if you're also into maneskin or want to get into them you could dm me to talk about them........??..?🥺🥺

youtube

#im actually tagging this bc i need maneskin fans to talk to #good lord i wrote so much #im sorry in advance for this being so hard to read #tldr måneskin is an amazing and revolutionary band #they make so much good and interesting music #måneskin #maneskin #damiano david #victoria de angelis #thomas raggi #ethan torchio #rush! (are u coming?)#Youtube #rei rambles

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