Kento:
Crisi d'identità dentro una lettera, incubi in testa, paura di perderla.
Ferite nere sul bianco del foglio i miei mille silenzi, i suoi mille non voglio.
Le notti a contare i minuti da solo e far finta di niente ogni giorno al lavoro ingoiando ricordi, tequila e parole e volando da lei come Icaro al sole.
È un puzzle di vetro che riempio incurante dei tagli, del sangue, del pezzo mancante,
perché lei ripete "il dolore continua", ripete che niente sarà come prima.
E lotto e combatto e mi sporco di fango per una che dice "io me ne sto andando".
Rit
Rest o silenzio e parol nun dett, rint o rimors e na vita perfetta lo so
Triemm pe n'altr e penat, lo so, chell ca è stat nun è n'altra vot
P Eight:
È n'ammor a 280 a fari stutat, tra folla e passant, pe futur e passat, te miett, ce piens, t'appienn,
tagl ncopp e braccia e t'abbracci sta croce pensann, è n'albero ca nun cresce nta na lapide che t'aspetta, è na lacrema ca se secc ncopp e facce ca te mentono. Cumbatt e t'arrienn, nte sbagl te pient, poi realizz ca te stizz pe na tizia ca nun t'ammerita, lettere ca se sprecano nciel e mani ca se cercano, l'attimo ca se cercano so pacchere ca te stendono circ stimoli pe sorridere e sottoscrivere nu cuntratt cu nu diavl ca te chiav e po te guard comm a n'angelo. Guard for, ment muor, na preghier te consola, mentr rint circ ancora, na speranza chiu interior, allucc rint ca nun po ferni', ment parl a chi nun po capi, ess par aca nun vo muri'e tu riman con i postumi.
Kento, stage name of Francesco Carlo, is an Italian rapper active since the early 1990s. He can be placed within the musical genre of militant rap/committed rap, characterized by lyrics that tackle social and political issues with a strong critical charge. His music stands out for its rhythmic complexity and the use of intricate rhymes. Kento has collaborated with several artists in the Italian hip hop scene, contributing to spreading a message of awareness and social denunciation. Among his most representative tracks are "My City", "Voiceless" and "The Wall".
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