Inspired by the Catastrophe theme, Pierpaolo Capovilla has conceived for DROME 20 a biting “text of research and, if you like, of experimentation”, which has also become a precious audio-reading…
In their insolence the wicked boast:
God doesn’t care, doesn’t even exist
They wait in ambush near towns
their eyes watch for the helpless
to murder the innocent in secret
The Holy Bible, Psalm 10:4-8
Executioners. The History of the world and the world itself are filled with them. Small miserable bastards, always busy with scraping together the loose change: some of them get rid of their wives, sons, daughters and mothers-in-law and are careless about the scandal that the police will hide behind the bars, or well thought-out suicides.
Some others are gigantic. Demons of all monetary funds, they’re armed with marines troops burdened with bitter frustrations, evil bogeys who scare entirely enslaved populations with the true vertigo of the most real fears, and they don’t give a fuck. Thanks to sham straw men who always help them, they have got everything. Press, radio, TV series, parliaments, judges, policemen, priests and clerics, scientists and philosophers, men, women, animals, they own everything. The whole world is the stage where they play, and they don’t know what to do with it, just like a whining freckled fair-haired little boy who compulsively smashes down his new toy. Not on the ground!: on your Scott Walker vinyl records. Ask Scaroni.
Some others are so ignorant that they ignore the fact that they are executioners. They think Scott Walker is a discount liquor. Ask again.
To be frank… clowns, rebels, anti-bourgeois fearless heroes can do nothing in front of the immanence of the history of executioners’ machine guns.
Anyhow. They all speak randomly, they sketch, they cheat, they slip, once on the truth: a human being of human race, a baby, drawn on a wall of Porta Genova in Milan.
The apostles told us that… we are all brothers. But, I don’t want to deal with such relatives. Perhaps, God is not worth the wait.
Pierpaolo Capovilla for DROME magazine, 2012
Pierpaolo Capovilla photographed by Mauro Lovisetto, from the series Visible Beauty, 2011, courtesy of the artist
Pierpaolo Capovilla, born in 1968, is a musician and author of the Italian independent scene. Singer and bass player of one of the seminal groups of the 90s, the One Dimensional Man, with his band he has performed on a number of shows across Italy and Europe, and published 5 albums destined to leave their mark on the Italian radical new wave and rock music history. In 2005, he founded Il Teatro degli Orrori, where he just sings, but this time in Italian. Il Teatro degli Orrori has become one of the most popular and appreciated rock bands in Italy, beloved by critics and fans, especially by those who are concerned with the contents and the genuineness of the social commitment, as well as of the real and modern sound. The never-hidden love for the 20th century Russian poets urged him to embark on a long reading tour covering Majakovskij’s poetry in theaters, clubs, community centres and occasional public places. Heresy (Auditorium Edizioni, 2011), is the cine-matographic account of one of these readings, performed in Faenza at the Meeting of Independent Labels in 2010. In the work of Capovilla are certainly distinguishable his devotion for the American rock tradition, his love for Russian poetry and drama, but also the civic engagement and commitment to democratic values, always – and sometimes controversially – reiterated in his concerts and public meetings.
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