The Rise of Måneskin: Rock and Pop Converge in a New Era
Introduction:
In the realm of music, the boundaries between genres often blur and evolve with the passage of time. One such example of this convergence is the rise of Måneskin, an Italian rock band that operates according to a pop logic. With their unique blend of rock conventions and pop circumstances, they have carved out a distinct space in the contemporary music scene. This article delves into the band’s journey, exploring the tension between their rock roots and their position within the music industry’s commercial machinery.
The Band’s Unconventional Path:
Måneskin’s journey began with their breakout on “The X Factor,” where they caught the attention of executive producer Marica Casalinuovo and musical director Fabrizio Ferraguzzo. Both of them had played significant roles in the success of the show, and when they decided to work with Måneskin, it marked a turning point in the band’s trajectory. Not only did Måneskin gain invaluable mentorship and support from industry insiders, but they were also able to tap into Casalinuovo and Ferraguzzo’s vision for a new kind of music hub.
Moysa: A Hub for Creativity and Integration:
Ferraguzzo’s brainchild, Moysa, became the manifestation of this vision. It served as a recording studio, sound stage, rehearsal space, offices, party venue, and creative playground all rolled into one. The concept of vertical integration, where all aspects of music production are handled by a single entity, became the driving force behind Moysa. Ferraguzzo believed that by consolidating these functions, a higher level of efficiency and creative synergy could be achieved. Moysa opened doors for Måneskin to work with a team of experienced producers, including Max Martin, who brought their unique rock sound to life.
The Convergence of Rock and Pop:
Måneskin’s sound is an intriguing blend of rock conventions and pop sensibilities. Their signature moves, such as having the guitar and bass play melodic phrases simultaneously or featuring post-Strokes style non-swaying boogie rhythms, showcase their rock roots. However, the band’s willingness to experiment and embrace pop elements sets them apart. For example, their unreleased single “Honey (Are You Coming?)” showcases lead singer David’s higher register vocals, adding a pop twist to their sound. This convergence of rock and pop is a reflection of the band’s navigation between authenticity and commercial appeal.
The Post-’90s Rock Consensus and Måneskin’s Isolation:
The post-’90s rock consensus (PNRC) dictates that anything resembling a mass-market product is, by default, not good. This viewpoint is rooted in the understanding that rock music is not just about song structures but also about the relationship between the band and society. It thrives on the adversarial dynamic between rockers and society, which was prevalent during the counterculture eras. However, Måneskin’s position within the PNRC remains unique. While they play rock music, they operate according to pop logic, challenging the traditional notions of what rock should be.
Måneskin’s Impact and Legacy:
As Måneskin continues to make waves in the music industry, their impact goes beyond their own success. They represent a new era where rock and pop intersect, harvesting the best of both worlds. Their willingness to push boundaries and experiment provides a fresh perspective on the possibilities within the realm of music. By embracing the necessary dynamics of the music industry while staying true to their rock roots, Måneskin has laid the groundwork for future artists to explore and redefine genre boundaries.
Conclusion:
Måneskin’s journey serves as a testament to the evolving nature of music. They have successfully merged rock and pop, breaking away from conventions and embracing the possibilities offered by the changing music industry. Their ability to navigate the tension between authenticity and commercial appeal provides a valuable lesson for aspiring artists. As the legacy of Måneskin continues to unfold, it is evident that this convergence of genres will shape the future of music, offering endless opportunities for innovation and creative expression.
Summary:
Måneskin, an Italian rock band, has gained prominence in the music industry by merging rock conventions with pop sensibilities. Their rise to fame began with their breakthrough on “The X Factor,” where they caught the attention of industry insiders Marica Casalinuovo and Fabrizio Ferraguzzo. The duo’s vision for a new music hub led to the creation of Moysa, a place where all aspects of music production were seamlessly integrated. Måneskin’s sound reflects their rock roots while incorporating pop elements, showcasing their versatility. The band’s position within the post-’90s rock consensus sets them apart, as they operate according to pop logic while playing rock music. Måneskin’s impact extends beyond their own success, paving the way for future artists to explore and redefine genre boundaries in an ever-evolving music industry.
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Here I should reveal that Larson edited an essay I wrote for Pitchfork about the Talking Heads album. “Stay in the Light” (score: 10.0) and that I consider myself his friend. Possibly because of these biases, I read his review as a reflection of his deep and widely shared need, among rock fans, to feel the music, something that the many pop/commercial elements of “RUSH!” (e.g., familiar song structures, lyrics that seem to have emerged from a collaboration between Google Translate and Nikki Sixx, compulsive use of multiband compression) left him unable to do so.
This perspective reflects the post-’90s rock consensus (PNRC) that anything that sounds too much like a mass-market product is no good. The PNRC is based on the idea that rock is not only a song structure but also a relationship structure between the band and society. Since rock’s earliest days as black music, the real or perceived opposition between the rocker and society has been central to its appeal; This adversarial relationship animated the youth and counterculture eras of the ’60s and then, when the economic dominance of mainstream rock made it impossible to believe in, sparked the revitalizing reaction of punk. Even major record labels felt compelled to play with this paradoxical view of the world, for example in the post-Nirvana period, when the most popular music genre was called “alternative.” Måneskin, however, is defined by his isolation from the PNRC. They play rock music, but they operate according to pop logic.
In Milan, where Måneskin would finish his Italian mini-tour, I had lunch with the band, as well as with two of their managers, Marica Casalinuovo and Fabrizio Ferraguzzo. Casalinuovo had been executive producer of “The X Factor” and Ferraguzzo was its musical director; Around the time Måneskin broke through, Casalinuovo and Ferraguzzo left the show and began working with the stars he had created. We were in Moysa’s in-house restaurant, the combination recording studio, sound stage, rehearsal space, offices, party venue and “creative playground” that Ferraguzzo opened two months earlier. After clarifying that he was in no way criticizing the major record labels or the numerous vendors they hired to record, promote and distribute albums, he laid out his vision for Moysa, a place where all of those functions would be performed by a single corporate entity, basically. describing the concept of vertical integration.
Ferraguzzo supervised the recording of “RUSH!” along with a group of producers that included Max Martin, the Swedish hitmaker best known for his work with the Backstreet Boys and Britney Spears. In Moysa, Ferraguzzo played me the new unreleased single by Måneskin, “Honey (Are you coming?)” which features many of the band’s signature moves (guitar and bass playing the same melodic phrases at the same time, post-Strokes style non-swaying boogie rhythm), but also has David singing in a higher register than usual. I heard it first on studio monitors and then through the speaker of Ferraguzzo’s phone, and it sounded clean and well-produced both times, as if a team of industry veterans with unlimited access to espresso had come together to perfect it.
The large number of older, more experienced professionals involved in Måneskin introduces a tension between the rock conventions that characterize its songwriting and the fundamentally pop circumstances under which those songs are produced. They are four friends in a band, but that band is inside a huge machine. However, from their perspective, the machine is good.
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