INFERNO was born from an idea of Francesco Maria Gallo, author of the music and lyrics based on a selection of 11 cantos of Dante Alighieri's Inferno, on the 700th anniversary of his birth. It is an intimate florilege, in which the singer-songwriter - except for the opening piece La Selva Oscura, which brings back the original verses of Dante's Proemio - overwrites his own free interpretation of the chosen songs, through the music combined with an original writing around the suggestions and to the protagonists of the same songs. Then we witness the re-elaboration of one's own hell, redesigned according to a personal point of view, as if to identify another from itself of Rimbaudian derivation who, from time to time, reassembles the different figures, captured in the most human aspect (The Giant ( Ulysses), Pier's Silence (Pier delle Vigne), Count Ugolino, The Emperor of Pain (Lucifer)) to anchor the mythical descent into the Underworld to an almost interior journey, poised between a lucid analysis of defeat (Desolation) and the hope of a heartfelt way out of one's limits. For Francesco Maria the damned is also the cosmic human in search of a sort of redemption. In support of this reinterpretation, the archetypal dimension of the feminine and the earthly salvific role of Love intervenes, a demiurge substantiated in the apology of the union between man and woman (Francesca, Il Bacio Sospeso - Paolo and Francesca). Even Medusa grasps the legacy of a deeply human compassion and transfigures it into a Queen overshadowed by time, in the perennial search for a "normal man". At the same time, Gallus' pen does not escape a desolate criticism of our earthly condition (Hell) in which the awareness of a persistent existential nature flows, bordering on the definition of hell. Right here we are faced with the tightened question in the implicit condemnation that unfolds through the gash in the veil of Maya. And it is precisely here, from this common perspective, that the collaboration with the author Carla Francesca Catanese was born who, of the eleven tracks by Francesco Maria Gallo, has returned a personal counterpoint. The Controcanti formally depart from a prose more suited to musical adaptation and provide the seal of an operation that adheres to the terrain of experimental poetry, a jumble of irregular visions held together by the anarchy of free verse. Here then is that Hell descends into the latitudes of an almost beautiful contemporaneity, in a verbal and conceptual mix where Dante's atmospheres merge into an Iconic Stomp Inferno. In a footfall that smells of accumulated havoc: a semantic, transversal melting pot. The Controcanti lodge here and now, in a pierced world, between the meshes of Trap music, the black blood of the metropolis, the Santi baldi of Zara, the barges of Lampedusa, up to Capitol Hill. Dante's songs affect the plot of a cosmopolitan Hell - shattered by Myth, rinsed in the mirror of the doppelgänger - to take the form of instant poetry, with very few escape routes from an indelible today in its infernal format.