ÁTM-Music

  After being last in the Sanremo Festival this year and not convincing la Stampa with his 'Sesso Occasionale', Tananai has experimented a huge chart-success, having two songs on Italy's Top 10 this week ( Sesso Occasionale at number 9 and BABY GODDAMN at number 6). Tananai, who had previously collaborated with the famous Italian rapper Fedez, presented Sesso Occasionale to the famous festival, a track that continued the alternative dance spirit of his music  and that recalls Village People's Y. M. C. A. in the chorus. The song and his vocal performance didn't please the Stampa that placed him in the last places since his first performance.  However, his music has experimented a huge success since then, showing that, despite the place you obtain at Sanremo, the exposition is really big. Even after a month after the festival, the songs from the contest hog Italy's top 50 most streamed songs on Spotify.  Just by performing, the contestants will get their songs i

 Last Friday Irama released his new album, which follows up his 2020's EP, Crepe . The project comes after the incredible success of Ovunque Sarai, both commercially (the track is certified platinum in less than a month) and critically (Irama scored the 4th position in the Sanremo Festival this year) . Far from his latest latin sound, in  Ovunque Sarai  Irama looks at himself and his feelings. In particular, Irama portrays the feeling of missing someone relying on nature as the artistic reference point. The result is, in a chain of future tenses, a long poem , showing an almost unprecedented depth, artisitic growth and maturity. Irama's vocals on the track raise the track even more, creating an experience, where feeling is the protagonist.  Now, almost a month after the Festival, we get the album, Il Giorno in cui ho Smesso di Pensare.  The record includes featurings from his frecquent producer, Shablo  (and also writer of Ovunque Sarai),   Rkomi, Sfera Ebbasta, Guè, Mace, Wi

  The Sanremo Finale had place yesterday to close this intense week of performances, bets and hopes.   La quinta serata consisted in every contestant singing their song, while the spectators could vote at home. This votes would be sum up to the general ranking product of the rest of the nights. The finale and la serata cover (where every singer had to cover a hit from the 60s, 70s, 80s or 90s) didn't modify much the general ranking of the first three nights: Ana Mena only moved one place forward from the first night, letting Tananai in the last place and the podium kept the same (the obvious winners Mahmood & Blanco, Elisa and Gianni Morandi). We could say the same for Irama, who scored a secure forth place and his highest position with Ovunque Sarai. The contestants tried their best in the finale, with a lot of them moving around the stage or going to the box and asking the audience to participate in their performances. Some pronounced speeches to complete the whole meaning of