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cover of episode OSTIL3 (Album) - 333 MOB, LAZZA, LOW KID

OSTIL3 (Album) - 333 MOB, LAZZA, LOW KID

2025/7/1
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Renaud: 我认为333 MOB对于Lazza的音乐生涯至关重要。这个项目代表了一种思维方式,一种音乐理念的学校。在Lazza早期的音乐生涯中,尽管他与Blocko Records和Zero 2合作,但他一直在寻找自己的身份和方向。与Killa签约后,他并没有立即取得成功,直到他加入了333 MOB。333 MOB为Lazza提供了一个实验和重建自己音乐风格的平台,帮助他找到了自己的声音,并最终走向成功。对我来说,333 MOB就像是Lazza通往成功的地狱前厅,是他音乐生涯中不可或缺的一部分。现在Lazza功成名就,回归333 MOB是对自己音乐根源的庆祝,也是为了回馈那些一直支持他的听众。这次回归不仅仅是为了追求商业上的成功,更是为了表达内心的情感和坚持地下音乐的风格。

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When you talk about the mob, about the "don't fuck with the mob" we talk for a moment about a sort of school of thought that becomes music. It's hard to describe what it is and why the AZA feels so attached to this project, which is part of 4 Tracce and says "it's like if it were my record" because this mentality

this kind of sound that is the protagonist low-key is a bit like the one that has launched Lazza not from the point of view of discography but that has really raised him that is, Lazza for those who do not remember him, I do after the experience with Blocko Records, with Mixtape after the experience with Zero 2 where he and Jaime were two characters

important for the scene, two promises. Jaime signed for the Major, he made an interesting EP, especially from the point of view of writing. Lhasa signed with Killa, but things didn't go as they should, even because it wasn't the time. But I think because Lhasa, very fresh as a young man,

from a very young age, was looking for his identity and his dimension in what was then the music market. He was the freshest, together with James and other people, of that generation after the Fedez and Mischilla,

And so from the light we expected a cultural revolution, but when it came out with the mixtape with Killa, anyway, the shadow of Emis was behind it, in my opinion. And so it didn't really emerge. And when there was the cultural revolution of Trap, Lazza was totally in the shadows.

and I couldn't stay behind because it seemed to emulate Dark Polo's sphere and from the other side they emulated their turn but in Italy that was the feeling so Lazza had to make an effort, he had to pull the balls out and say ok I'll get in the game, I'll do it without fear of being judged or misunderstood and that's where the mob arrived

and that's where a lot of traces and situations came that somehow put him

in the condition of experimenting, of recreating his niche, showing himself to the public, but above all putting him in the physical, athletic condition, as for an athlete, as for a Pugil, here the best example is that of the Pugil, who does not immediately go to face the champion in charge, but begins to make a series of meetings that he must win, with an opponent at his disposal first of all, and this is also done by the most talented Pugilists, and when he then arrived in Sirio,

was ready, it was loaded and therefore this mob stuff was essential for Lazza. For this reason today, after this great success, after having made an operatic version and jam of the last album, he returns to his high head

where everything started, where his success started, in the pre-phase of Dante's time in hell, paradise and purgatory, there is the antechamber of hell, this is the mop. Sirius, then the discodopo, cures him, you see? So, in short, for Laza it is an important moment of celebration of himself,

of great success, it is a top product and feels the need to give its audience what they deserve and therefore for this it is so exalted, for this this record can have its value not for the numbers that it will probably not do but for the heart that will be inside and also the style

much more underground than what Laza has gotten used to lately.

Renaud.