1. Musical references
The musical references that best suit what we propose in this record are to be found in the work of artists who mix various genres, especially with electronic music. Considering the variety of pop music we usually listen to, the inspirations range from Prodigy and Massive Attack to Death Grips and Dead Can Dance, staying in the mainstream.
These are superimposed on the great songwriters of the Italian tradition, such as De Andrè, and the composers of the MPB (popular Brazilian music), such as Caetano Veloso, from whom we have certainly learned the importance of the narration that is done through the lyrics.
To the union of these genres, only apparently in contrast, we must also add the influence of the new beats of Rio's funk, drone guitars and Turkish flutes. Basically, more than reference bands we have places or genres of reference.

2. Use of different languages
Very often the choice is purely stylistic, the musicality of the language itself has a decisive value. But, as for musical references, we cannot deny the emotional bond we have with some languages, because they are part of our culture, as for Italian and Portuguese, or simply because they mirror a culture and a place that welcomed us and made us become what we are, like English. In this album, a song in Turkish is added for the first time, to emphasize the importance of the places where we have the pleasureto perform.

3. Themes of the texts
In our discography, lyrics always play a central role. In writing NaN we focused on aspects of human life that are often reduced to cold calculations. In this way in the album you can find different aspects of the human being in order to trace an emotional path.
Starting from Neve, in which the difficulty of mourning and the sense of total helplessness is told, passing through Pensar, a piece in which we want to emphasize, through catchy and humble music, the social injustice and the importance of the individual in the fight for change. Follows Dei Buoni Dei, who wanted to be a punch in the stomach. A sadly common story about the deaths in the Mediterranean, told taking inspiration from the style of the troubadours but with a frenetic pace. Still taking from the ballad, Eremita comes next, where in a more hermetic way than the previous texts, the lyrics underline the alwaysincreasing difficulties encountered in communicating, at all levels, between individuals, between cultures, between countries. Birdaha is hooked on the subject of the fight. Here the physicality of the disagreement takes over, an episode is told in which at the end of a concert the request for several encores, in Turkish precisely Birdaha, turns into an uncontrolled brawl in a few moments. With Fog, we return in a more abstract way to the themes of injustice, this time the protagonist is the society in which we live, which exploits and controls us, making us believe that we are doing everything only for our good, in an infinite spiral in which it is impossible to choose which side to take. Peonia is a love song, as an essential feeling of the human soul. A feeling so strong and pure, that despite all the difficulties, it leads us to do the right thing.
The closing of the album is entrusted to Stupid Song. The theme is suicide and in the song, which is almost a parody of itself, cheerful rhythms are superimposed on words that seek an escape from discomfort, creating a grotesque situation.