Marianna and Big Mama are two worlds that continue to intersect. Two elements that coexist, intertwine and find their perfect union in music. Music is Marianna’s saving grace and Big Mama is her representation and evolution.
To tell this world, “Sangue” is released, Big Mama’s first album, preceded by the Sanremo success “La rage non ti basta”.
Twelve chapters of bloody, impetuous and above all true stories.
Big Mamma-Marianna manifests her sufferings, exorcising them, with a good dose of irony, through music. An intense, straight narration that arrives like a bolt of lightning that dazzles and sheds light, explicitly and without censorship, on extremely current social issues. Bullying, catcalling, brotherhood, illness, emotional torment, psychological violence, all emergencies and situations experienced firsthand by the twenty-three-year-old artist (March 10th makes him twenty-four).
Big Mama in “Blood” evolves and expands her space. The rap and urban territory remains as a basis but leaves its comfort zone and experiments with new paths: electronic, pop, dance, and even reggaeton.
Episodes like Poison they are the zenith of his production and define his talent and infinite qualities.
In “Sangue”, Big Mama takes on a new authorship while maintaining the leading role at the microphone, with two feats: M¥ss Keta and La Niña Del Sud, and productions curated by Francesco Fugazza, CanovA, ITACA, Damiank, Brun, Crookers , Mark Harris.
Open the doors and let yourself be conquered by the new Queen of Italian music… it’s a matter of blood!!!
TRACK BY TRACK
Very strong Freestyle it is the piece that opens the album and it is no coincidence that it was chosen as the first track. BigMama plays with rap so as not to forget that music is also fun and a means to remove a few pebbles from your shoe. A direct song, homage to the hip hop of the 2000s in a current way.
Hundred Eyes it is a song that combines a new writing style with what the artist has always had. The base is pulsating and fresh, the current topic: “catcalling” (verbal harassment such as whistles, compliments and sexual innuendos which can have psychological consequences) a phenomenon experienced firsthand by BigMama in recent years. “Trust is hidden in the shadows / your eye under my skirt.”
The artist responds with brazen irony and in the text the difficulty of being a victim is shown to the executioner as a game: between the two choruses, the rapper “takes the catcalling person by the hand” and takes him to the city to make him understand what it means to be able to be free.
Anger is not enough for you: the Sanremo song is a dedication to little Marianna and a universal message that doesn’t have just one name. Bullying, violence, inner darkness, but also strength and redemption: an invitation to seek courage and strength in the projection and in the idea you have of yourself, not in the words of others. “If you get lost, follow me.”
Blood it is a dedication to the blood of one’s own blood “I would like to be an example / But I didn’t have an example / A mother without children / And I did it anyway / I had gaps to fill / A
Little girl it’s a hypnotic stream of consciousness. The text talks about women and BigMama continues quickly in the same direction taken at the beginning. And here is the story of how difficult it is to be a woman today, how much a woman has to endure, especially if she does not reflect the canons of society “Take body and tongue / With the edge of a razor / Shoot me without aim / So I lose my pride / While I you look / Undress with your eyes / When you deceive me / With sweet words”. The song starts softly then opens to a closed and stuck rap; BigMama is capable of moving between faster rhyming passages and more extended melodic parts, easily oscillating between a robotic autotune and a confessional and intimate tone.
Goddess it is instead a tribute to Lady Gaga, one of the artist’s musical queens. The song tells of emotional dependence, from which, however, over time one is able to become empathetic and the roles are reversed, being able to become the subject of the dependence to the object. A song about redemption that opens up to dance “First the sleepless nights to be with you / If you want to hear me now play / But I locked you in a song and you’re left with me / A tear on the display. And if for evil / I don’t forgive you / Let go now / Gift and Abandonment”.
Mama not Mama is Rap, reggaeton and electronics that mix powerfully where the Neapolitan graft of La Niña Del Sud adds a fundamental melodic part that veers towards the Arabic. The result is a perfect exercise in style, with puns, that doesn’t make you sit still.
Evil eye it’s a rough rap-electrodance blend. The ability to hurt someone through a simple look is a metaphor for the power of judgment that others often have over us: people have their eyes on those who can do it because it is easier to speak badly than to do. But there is no lack of courage and personality in this song, and its mix of irreverence, irony and a massive dose of provocative frankness leads to revenge. “Sign of the horns I use them to stop them / And you, little man who talks with his ass / Come on, show respect because I have an ass that talks / (…) / The eyes strike for me you want evil eye but I’m fine good good good / Bona all night there is an orchestra that plays just for me and an audience that listens to all my notes in my head now there is no room for you”.
Touchdowns BigMama and MÂĄss Keta play with physical love. The song recalls a historical piece in queer culture, “Up and Down” by Billy More: the melodies in the chorus are the same but with original lyrics. With an explicit and rich language, the two artists bring out spicy, subtle and enveloping verses. There is sensuality, the desire to play with a hedonistic aesthetic and a language that has fun with neologisms. “Your mommy issues light me up / And I light up for you all the monsters in the drawer / Ask if you ask then I’ll give you if you do it in baby doll / I’m ahead, not yesterday, and you dribble among my defects, no strengths, you can’t hold up, no begging” .
Grenade, with strong images, a UK garage beat and current lyrics, it talks about sexuality and relationships. Great melody, inserts in Neapolitan, the voice in the foreground and an electronic opening make this piece a powerful message for those who still conceive of love in one sense “Teng na bomb a man indo cor / Now that you are mine / And man ngann, you m mann a for / You don’t go away anymore”
Poison comes the most poignant, touching and profound piece of the album “Veleno”, written by BigMama in one of the most difficult periods of her life: when she had cancer. Piano and voice instill a certain blues melancholy. Sensations thrown away in one go, a stream of consciousness for the need to write. Two live microphones, one for the piano and one for the voice make this song a real pearl and an extremely authentic song “I saw gold fall from my head and my face and it takes with it / the fact that I struggle looking at a reflection that is no longer me / I don’t want poison anymore / (…) / And the shit I have inside / It’s the poison that enters / I try not to cry / When I say goodbye to dad / Slave, he has my chains and he knows / Doc smiles at me and says it will end / He has sad eyes and knows how bad it hurts”.
Mamasutra it is the closing of the album, explicit and irreverent. Song that also closes BigMama’s live shows. No censorship on an electronic base that contains some quotes taken from Shrek, one of the rapper’s favorite cartoons.
SCORE TRACK BY TRACK: Rating 7.15
1. Fortissima Freestyle – Rating 7.00
2. One Hundred Eyes – Rating 6.75
3. Anger is Not Enough for You – Rating 7.00
4. Blood – Rating 7.15
5. Little girl – Rating 7.25
6. Goddess – Rating 6.75
7. Mama Non Mama – Rating 7.00
8. Evil Eye – Rating 7.25
9. Touchdown feat. M¥SS KETA – Rating 7.00
10. Hand grenade – Rating 7.25
11. Poison – Rating 7.50
12. Mamasutra – Rating 7.25
TO LISTEN NOW
Little girl – Evil Eye – Poison
TO BE SKIPPED IMMEDIATELY
Nothing. A record to listen to, feel and absorb.
