When you get off the train at Garlasco a feeling is to have faded in front of the fifthof the Italian province: low houses, no cars, grandparents who are riding with indolence, some gaudy poster.
You'd never know right inside one of those wooden doors there is a strange assembly line that employs many workers intent on defining what will be released by the Italian radio stations in the coming months.
The Assembly line is called Sony/ATV Camp, held annually (sometimes twice a year,depending on the needs of the Italian music industry) and is a kind of musical school field which is to close on a House for a week all authors of the scuderia Sony, let them write it together to the bitter end and see what comes out.
This year, to share beds, sofas and recording studios there were Levante, Colapesce,Birthh, Davids, snakes, Michele Banks and many other names (Filippelli, Flora, Napoleon, Gargiulo, Maiello, Martorelli, Palmosi, Romitelli, Ferrara, Simonelli) that maybewill tell you nothing but have signed some of the most famous pop songs of the last few years in Italy, for the likes of Malika Ayane, Gianni Morandi Francesca, Marco Mengoni, Michielin, Marracash and many others.
As soon as I get home I'll explain how it's organized labor: everyday couple are prepared or trios (usually about two authors and a producer) to ensure rotation of artists, so that within seven days everyone gets to work with everyone: Colapesce and Levante, Birthh and Dimartino, lightweight music rap with producers.
The first question that arises in front of an operation of this type is about spontaneity: isn't it a little forced "force" of the artists to write and produce songs at the table that then will sing some pop star just output to a talent show?
Judging by the frequency of laughter and the constant climate of light reading the answer is no, rather it is the awareness that the pieces are not intended for its repertoire to provide authors with a certain freedom of writing that transcends genres, moods, languages and personal identity.
Birthh met for the first time to sing in Italian, and is fine; the same can be said of Colapesce grappling with a piece almost funk, and Levante with black rhythms (twerking included).
Moreover, the lack of spontaneity does not necessarily also a lack of authenticity: within a few hours I was fortunate to hear many beautiful pieces, and for each of theseI made a great effort to imagine them sung by some anonymous (so to speak) interpreter on the radio rather than by their respective authors.
I suppose that, once published, will do the same effect that plays "Burning the city"by Irene Grandi: by instinct, the ricanti with the baritone voice of Francesco Bianconiof Baustelle, author of the song.
On the other hand, before picking on the majors for lack of vision and support these artists able to write valid and original music, remember that the world of authorshas always existed without ever unleashing much fanfare: there are countless cases of great Italian artists throughout their careers have taken advantage of the supportof other authors , for the lyrics or the music (Lucio Battisti and Mina are just the twoobvious examples), without this discredited the work of both. In addition, very often are the same artists don't want to get into the wing of a major record label, despitereceiving offers.
The one on which you could argue is the quality of the performers occupying the Italian charts, and the validity of the talent show as the only method to sign them. In England (where X Factor is born) and in other English-speaking countries the decline of popularity of these tv formats has become tangible, but in Italy still seems far away when the formula will stop totally to attract the interest of the audience (we are the 16th edition of big brother, the 15th of friends of Mary and the 10ma of X Factor, and the ratings of programs are still good).
Having heard at least five potential hit, I try to understand the path that the wait once the camp will be shut down: the pieces are usually presented to producers and singers who will really listen and decide if it can work or not. If they are dropped, they remain "in circulation" awaiting the right interpreter, a wait that can last for years, as happened to many pieces of good fortune that remained "orphans" long before arriving in front of the right microphone.
In the end, what's left of this day is an odd sense of relief: think that Italian commercial music is finally in the hands of authors can write songs at the same time read, beautiful and complex is what, for too long, we only dared to ask for.
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