Reading the lyrics of Christian’s songs we realise that he constructs a kind of territory, a geography directed and delimited by dimensions that are self-contradictory: there is a “high” ground and a “low” ground, which are translated into a dynamic tension; in this on the low ground, one either “follows the path” of a search, or “takes a leap” into the dark, while on the other hand on the high ground one “flies” or gazes into the distance, contemplating the sun (if the images are those of light) or the stars (if there is a touch of nocturnal romanticism), Christian’s poetry is never descriptive; it doesn’t keep the horizon and perspective in a firm grip. Everything moves: downwards or upwards.

Everything lives by tensions, and there is no such thing as an inert object. This dynamic, which is the “history” of Christian’s songs, their temporal dimension, is provided by two basic sentiments: we could call them two “motive forces”: dream and struggle. The dream is the true reality, or rather the real meaning of things, the real substance. It is the dimension of love, for example, of the pleasurable vision which accompanies images of light, very clear and terse. Struggle, on the other hand, is the dimension of challenge, of whatever stands in the way of the dream, light and love. The struggle is above all challenge to distance, to the feeling of abandonment, to re-sentment. This is the summing-up of the “geography and history” of Christian’s songs: the high and the low, the dream and the struggle.

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