It's not easy reviewing the draft Antonello Cresti and Andrea Gianessi, by its very nature is a project, before being cultural music only. And here is , in my view, the main reason for my interest in this project (website online: http://www.nihilproject.org/ ). not the musical component is secondary, at all, but that is not a language, so we could say that "Nihil Project is a project which is expressed especially in music, but it is not merely a musical project, but cultural broad sense "meant. And let me say quite clearly, this is a rare thing these days. Why quest'aridità cultural dominant? Why is this true "scared" for any change, any nonconformity?! This is the era of the apparent freedom and conformity mental background. It 's a terrible thing this combination of negative thinking and static port quest'umanità the dissolution behavior "lemming." We remember what the Buddha said: "Everything we are is the result of what we thought .
The project is interesting for two reasons: to ) the music develops that is unique, comes from the combination of many different musical trends, with particular attention, however, the British folk; b) puts the cultural project next seemingly contradictory trends, focusing on spirituality. the latter issue, however, instead of mating with conservatism, more or less "enlightened" if they approached you rather than distance and a tendency to "radical" in the sense of the term true. not be radical means being part of a political party, let alone part of neo-liberalism, but instead means "go to the root of the problem" and today's problems stem from a cut made in respect of spirituality, that, among other things, it takes much stuck inside limits "confessional" terrible mistake, padornale, aunt-ornale, nonnornale, newspaper, and so on and so forth. Error of perspective, as they say. But a union of opposites, as suggested in "Nihil Project" not seen since the late sixties, and not afraid to experiment, there is little 'sti times. From the musical point of view, not as a cultural project, the duo is most felt the psychedelic seventies, and then there are those two planes, mutually interrelated, however.
We come specifically to the location of the duo, which will make us understand their roots better than words. The first job is significantly entitled "The Decline of the West" (2001, with additions in 2002), and features a track entitled "Beating about the Bush," word play between the bush, bush, and Bush, the former President Bush II (Bush Jr., I mean). But the rest of the titles of the pieces is by nature " evoliana " unequivocally, ranging from "The Metaphysics peaks "in the first piece, titled" Men and ruins, "more evolved than that ... the" Nihil Project "deserves credit, town, in my opinion, these issues have taxes paid out of the usual culture right, which in reality has only embalm Evola, losing the vital lesson to be fixed with past forms. But docet experience, it is virtually impossible to convince some quarters not to be the "owners" of something that by its nature same can not be just an era, a political environment, a ' individual, however eminent. This is undoubtedly a thought too complex and deep for some minds. The "Nihil Project" has done this without talking, vain talk, he simply made his own path: thus we make the changes real. Returning to the musical journey of "Nihil Project", after work just quoted, says "Pariah" (2003), a mixture of electronic, industrial, minimalism, free jazz, sacred music. Work very eclectic but not elliptic in the sense that it always tracks their "line" of development, beyond the inevitable ups and downs that testing include: when experimenting This oscillation must be accepted as inevitable. That must be why in Italy if they so afraid? Probably this is always the favorite Italian stale false security of plastic and foil inconsistent. Then comes "Samhain, the Celtic festival, where" we worship the temple of Nature, and even here this' openness to these issues, very "evoliane" also, this openness, however, is totally released any "right-wing rhetoric," and is a merit, again, remarkable. Really, "The Times They Are A-Changing", the "standard changing times", as the old song. More than anything it is a climate that changes slowly and does not correspond dominant trend in the present moment, this is. Dominant trends in any field, and this is beautiful. What, then, the "right" today is only just rhetoric and pseudo-identarismo is clear beyond reasonable doubt. But in the meantime, "some" ideas continue, go out of mind in mind. Are in the air, and that's what counts in the end. We are not the "owners" of these ideas, which gives rise to a surprising and unexpected.
The latest work by the duo is "Plough Plays" (2006), where I think the interest in British folk is the master, while in the path that was briefly briefly mentioned in this article. This work will be resubmitted in Italian soon. Another component, which was deliberately left to last , last but not least as they say, is that without any doubt futurist. I would say that this is a group "futurist" in the spirit experimental obviously not forms in either language, of course. Tempus fugit irreparable, and inevitably irreversibility time ... You can not "revert " to roll back. In this world, clear, other worlds it is different ... But let's stop cost.
Andrea A. Ianniello
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