Cult. Cult of sweaty and lively music, cult of rap and its history, cult of cinema and its evocative power. Psalm and Noyz Narcosat the Fiera Milano Live in Rho, in front of over 30 thousand peoplepresent their joint album live for the first time “Cvlt – Hellraisers” proposing a direct and tight concert, one of the best live rap shows of recent years, and at the same time also a journey into the horror imagery of the project. Needless to say: zero autotune, zero vocals underneath, everything rapped from start to finish. Damianito and DJ Genghisbetween scratches, sound changes, doubles with the microphone and mash-ups, demonstrate once again the unbridgeable distance between those who really DJ at a high level and cosplayers who launch the bases by pressing a button on the console.
The live above all
The Sardinian rapper and the Roman one, on stage, are two killers in the rapping, in the movement, in the technique, in the attitudein igniting an audience from mosh pits and jumps. No invitation for plasticky refrains and paraculate. The two enter through the gate of the cursed house that appears on the album cover: Noyz total black hooded, all Stone Island designer, Salmo with a loose motorbike jacket and a tank top underneath. “Anthem”, in which the two exchange historical productions almost as if it were a blood transfusion, and “Hellraisers” are the two initial flare-ups. The live dimension seems to be the only divinity to which they are devoted: “Have you seen how ridiculous your idol who pretends, in the studio acts like a phenomenon and live it doesn’t push”, sneers Salmo in “Cringe”. And how can we forget the Gospel according to Noyz: “It is not for money, success, respect, it’s for the hell that breaks loose”. Sound and images constantly interact in an effective dialogue, even though the volume of the music is low according to current regulations.
Two monsters
The objects on the stage, handcrafted, like the gate from which they emerge, the tombs, the gloomy street lamps, the burning barrels and the abandoned benchesthey look like they were spat out of a set of John Carpenter and form the basis of a large screen in the background, on which it appears the dark house which, song after song, changes, until it catches fire and to be consumed. The side LED walls narrate the live event live, playing between cinema and reality, as if there were a ghostly presence possessing the bodies: the faces of Salmo and Noyz, in fact, transform into those of zombies and monsters famous in the horror world, all thanks to a filter. A beautiful effect. This visual part, edited by Andrea Folinoaccompanies the performance from start to finish, not distracting, but amplifying the music and allowing the audience to totally immerse themselves in the show.
The guests
Like flashes in the night, songs from the joint album emerge from the setlist, but also manifesto pieces of their respective careers, a sort of best of, as well as seminal collaborations for “Cvlt” such as “Guillotine” and “Mic Check”. “Nightmares” arrives at a wheel, “Grindhouse” scratches, “Brujeria” it’s a hallucinatory electronic chase that happens live, also thanks to some tongues of fire spit out of the stage, it’s electrifying, while “Attica” and “PSALM”, among the many amarcords, are two magic tapes that rewind. There are two guests: Kid Yugiwho appears very emotional, on the title track “Cvlt”, and Lazzacrowned by Salmo as “the current best Italian rapper”on “Hotline”. Noyz sits on a bench and spits out “My love song 1” and “My love song 2”Salmo raps a cappella “First time”. A song like “Breathe”with the sampling of “Breathe” by Prodigy, presented for the first time at “Marrageddon”, confirms a handful. Too bad for the absence of Marracash.
Nightmares
“Russell Crowe” and “Verano zombie”with their sonic power and what they represent in the path of the two rappers, have the same effect as an injection of adrenaline on the crowd. “L’odio”, with its jazzy nuances and its provocative lyrics, gives a Noyz with a velvet heart: “I have spent my life hating, but today hatred is spreading, it is becoming a dangerous thing. Love.” The lineup is rich, well-calibrated and goes hand in hand with the transformations of the cursed house, until the arrival of the light of “The dawn” that breaks the darkness. The last nightmare, unfortunately real, is that of the post-concert exit between parking traps, queues and only one exit which seems like a black hole into which tens of thousands of people can flow. From the artistic hell built by two “legends of Italian hip hop”as DJ Gengis defined them, to the real one which appears more and more often in many Italian live shows.
Ladder:
Anthem (Cvlt)
Hellraisers (Cvlt)
Cringe (Cvlt)
Guillotine (Psalm with Noyz)
Nightmares (Cvlt)
Mic Check (Noyz with Psalm)
Crosses € Christs (Cvlt)
Grindhouse (Cvlt)
M3 (Noyz)
Excuse me (Psalm)/Nightcrawlers (Cvlt)
Brujeria (Cvlt)
Cvlt (Cvlt)
90 min (Psalm)
Rap money (Cvlt)
Hotlines (Cvlt)
Attica (Noyz)/PSALM (Psalm)
1984 (Psalm)
My love song 1 (Noyz)/My love song 2 (Cvlt)
Rome Zoo (Noyz)/First time (Psalm)/Drag me to hell (Noyz)
Breathe (Cvlt)
Russell Crowe (Psalm)
True zombies (Noyz)
Hate (Cvlt)
Go with me (Noyz)
The sunrise (Psalm)
The end (Cvlt)
