A deep descent into the artist’s xanthous subconscious underworld, exploring his first single Orfeo Giallo from his ongoing solo project Disage a Trois and the importance of being communicative towards who and what is surrounding you.
What can your eyes immediately capture observing this expressionistic painting above?
Yellow is a warm colour, a symbol of positive energy, enlightenment, joy, but at the same time danger, deceit and cowardice.
“As Dorian Gray’s portrait, this staring face man, which my father painted, represents who I would have been, if I hadn’t stopped smoking and yearning for love affairs. This is emphasized by that grey melancholic shade and that light red flower. I discovered it in a dusty corner of my garage, because as Tell-Tale Heart’s protagonist, I always felt this heartbeat under my feet.” That’s what Michele reveals, laying on his bed, during a sick Sunday evening.
Indeed, this vibrant sensation is also what your ears can catch listening to Orfeo Giallo, new single from an intimate solo project Disage A Trois by Rossetti, a 24-year-old kaleidoscopic artist: illustrator, actor, dancer, playwright, guitarist and co-lead singer of Italian experimental indie pop band Slowtide.
His group, composed of Annalisa Bosotti (lead singer), Carlo Franchini (guitarist), Mikel Peruch (drummer) and Lorenzo Grippa (synth player and programmer), released their debut eponymous debut album in April, revealing their hypnotic heavenly single Leeway, which has been streamed 2,582 times on Spotify.
“Everything began by jam sessions,” he says “even when we weren’t supposed to create any song, someone started playing few guitar chords and then me and Anna, in complete harmony, got down to follow the rhythm singing spontaneous lyrics,” he explains.
They will launch their first European tour this Autumn starting on 13th October at The Family, a cooperative existing since 1900, but relaunched as a pub in 2013 in Albizzate, a little quiet town with a population of just 5,322 in the province of Varese, Northern Italy.
But going back to his upcoming album, he says: “I don’t want to play in big venues, I would like to have concerts in little hidden and tête-à-tête places, such as cafes, because I think that just in this way I can feel a direct emotional connection between me and my audience, a similar atmosphere that I did breathe playing on the streets.”
A people’s artist and an outsider, that’s how he defines himself.
Indeed, Daniel Johnston, Childish Gambino, Sufjan Stevens, Baustelle and Fabrizio De André are his major influences.
Italian-American inspirations, that immediately allows him, like an epic poet, to refer to an anecdote made in US: “When I was eighteen I stayed in a New York B&B, where I slept in an acupuncturist’s bed and there were white faceless mannequins all around me, but I tried not to think about it, playing my ukulele.”
“It’s the freakiest show!” Bowie would cry.
Besides, this leads him to reveal his new project called Le Griffe, more “cocky and provocative”, something musically between The Last Shadow Puppets and The Neighbourhood, which he is producing with Nicolò Signori.
Preview of a play called Meta Metafora, that shows sociological dichotomy regression/evolution.
Imagine a canvas portraying four actors sitting in the middle of the stage, birds in a cage, Pirandellian echoes.
Decorated with a continuous contrast between walking and floating, talking and gestures, singing and silence.
“Men have been evolving in their interaction with the other humans”, he reflects. “But at the same time they have been retreating in their communication with nature.”
As you can see, communication is a main point of his lyrics and of his scripts. “Using social network can be a waste of time, because people comment and judge each other without thinking and having right information”, he insists.
“But on the other hand it can be a useful tool to find a job or collaborators, especially on Instagram.”
Michele/Orpheus’ stream of consciousness is interrupted by a yawn, a sign that it’s time to end our two-hour-long dialogue and to let ourselves fall asleep into Morpheus’ (not the Matrix character) arms, while Johnston singing softly: “But late at night he had a saviour, in his sleeps, in his dreams…”
Words by Federica Ardizzone