The origins, for Rap can be found both in Edoardo Sanguineti’s active curiosity for music and in Andrea Liberovici’s availability to the differences in contemporary music. The opportunities in Rap, that is in itself never in rap form, lies in precisely in the poetic and musical structure of afro-american rap. (…)
Sanguineti, the poet, summarized his attraction for this “simple“ form of music describing his reaction to Liberovici’s, the composer, proposal to write a Rap together around a theme that was common to both of them, dreams: “What I found interesting was finding a good reason to do something new. Rap is fresh, something that can be used for a planetary music, one can try to use it as a product with a cultural significance that reaches beyond mere consumption, with no loss to this often “high“ area, however much at the boundaries“. The difficult balance of this artistic concept, that preserves both the value of the popular expression and the consequent “hig“ use, provides the sense of this theatrical music realization.(…)
In the often ripetitive circularity of the poetry Liberovici has found the right angle for a non limited use of those “minimal“ segments, that are used here for their theatrical values, for example certain phrases of the string quartet charged with drama memories, both owing to their possibility of spacing through the rhythm in different duration.(…)
From this intricate mesh of timbres, rhythms and forms arises a light – hear-ted ferociousness and volatile shamelessness that return it to the dimension of a music that is not limited to being, but pretends to say. Whitout defining, like with poetry, whit Rap.

Michele Mannucci – CD Rap presentation – Fonti Cetra Classic – 1996