CCCP picks up where they left off. And where, ideally, they had started. They start once more from Berlin (east), their kilometer zero, the fundamental point of an epic that mixes the Apennines and Keutzberg, handlebar mustaches and crests, concrete and manure. An anthology of stories and characters full of arrogance and humility, as in Guido Cavani’s Emilian realism novels. Their story ideally begins in 1981 in the shadow of the Wall (Die Mauer) and that epiphany was admirably told in Zamboni’s novel No voice inside. A summer in Berlin (Einaudi, 2017).
The preview of the 2024 summer tour ended at the Astra Kulturhaus in Friedrichshain, a few hundred meters from the iconic Karl Marx Allee (formerly Stalin Allee), a grandiose Soviet urban planning experiment. “CCCP in DDDR” (in the “demolished” GDR) was a moment of authentic avant-garde, Brechtian cabaret in concert dress.
It was not – and will not be – an Amarcord. Just as the exhibition Felicitazioni! CCCP-Fedeli alla Linea 1984–2024”, the album of the same name and “Altro Che Nuovo”, the first live performance from 3 June ’83 (unreleased) released recently. CCCP are the Wagners of punk, theirs is gesamtkunstwerk, a total and multidisciplinary work of art because, net of the amazing authorial and musical quality, GLF, Massimo Zamboni, Danilo Fatur and Annarella Giudici can send a completely marginal signal (they who marginal will always remain) to our world, impoverished by global sounds, by creators who create nothing, by the social algorithm that will notice them when they are consumable, in some way.
Children of their time and space
They were lucky, the CCCP, they are children of their time and their space. Because punk – which soullessly becomes its exact opposite, fashion for the use of the mainstream circus – must be cooked in the provinces and then served in global metropolises.
#CCCPs #leave #Berlin
2024-04-05 15:24:34
