⚠️ HARD JAZZ...

Name: Fik y las Flores Molestas
Address: 3 Via Sile, Padova, 35135, IT
Telephone: +39 3401565308

...HIP POP FUSION!!! ⚠️

Fik y las Flores Molestas is the name with which Federico chose to group the various collaborations in the studio and live, on the streets and in the clubs, which accompanied him in the representation of his music.

Today Fik performs as a soloist or in trio formation with Amedeo Schiavon (drums), Emanuele Pecciarini (drums), Alberto Pretto (bass) and Majd Arrif (bass).

There is certainly no shortage of featuring with dancers and wind instrument players: Federico has organized numerous parades in marching band formation in Berlin, Padua and Venice, thus having the opportunity to collect the contacts of many musicians.

The album Primavera was released on April 19th, visit the "Music" section to read the reviews!

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Fik y las Flores Molestas - Stranger

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Fik y las Flores Molestas - Primavera

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Fik y las Flores Molestas - Loophole

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Fik y las Flores Molestas - My Light Is Gonna Shine

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Music

MUSIC

"With the arrival of the beautiful season, the "Spring" of Fik y las Flores Molestas blossoms: the album of this collective based in Padua is enriched by the collaboration of the musician Fosco 17 during the production phase, and sees the light distributed in total independence.

Ten tracks (among these, a cover) to compose a structured, organic listening proposal with interesting (and unusual) stratifications: the album, as those directly involved say, explores new sounds, leaving us to presume the intention of into play and leave creative fields that are already widely explored. It's natural to find episodes in the tracklist that gravitate between pop and alternative, before suddenly turning to Afro, samba and surf rock sounds: everything is amalgamated through the firm and attentive hand of the artists directly involved, both in their recording sessions and in the laboratory. post-production files.

Time in the company of Fik y las Flores Molestas passes quickly and lightly, thanks to careful choices and with the boost of healthy enthusiasm, far from convenient solutions and trendy styles for the vast majority of recording products. Positioning yourself in the alternative scenario with a publication like this is significant, and getting "Primavera" to as many people as possible will make the leap in quality and important artistic growth possible."

Giandomenico Piccolo - Rockit Megazine

"“Primavera”, the new ambitious project by Fik y las Flores Molestas, is proposed as an eclectic journey through a vast musical panorama, ranging from minimal to cinematic, passing through surf, pop, afrobeat and ending with almost heavy metal accents of hard rock . Consisting of 10 tracks, the album not only immerses itself in different sonic atmospheres, but also embraces themes of social justice and denunciation, making it both an auditory and emotionally challenging experience.

The New Acid Blues opens with a nostalgic homage to the blues, refreshed with a modern jazz interpretation and orchestral arrangements. This piece serves as a bridge between Fik's musical past and the new sonic explorations of the album.

Stranger is a powerful autobiographical narrative. The fusion of inspired rap and a minimal funk rock base creates an intense atmosphere, highlighting Fik's personal struggles with illness and how these have shaped his life and art.

Discrimine takes the album into darker territory with its heavy dubstep base. Fosco17's production makes itself felt with strong influences in the deep bass and electronic arrangements, making the song a powerful cry against social injustices.

Africa Nera is an anti-racism anthem, combining elements of Afrobeat and rock. The emotional lyrics and rich musicianship invoke a sense of urgency and activism, urging listeners not to remain passive spectators.

Loophole stands out for its unique textual approach and a beat that nods to disco music. The dadaist and provocative lyrics fit perfectly into the context of the album, pushing the boundaries of Fik's artistic expression.

Onda di Mare is probably the most emotional piece on the album, a work that mixes samba, jazz and surf in an evocative arrangement. The nostalgia and melancholy of the lyrics combine with the musicality to create a complete work of art that promises an equally engaging video clip.

Primavera, the title track, perfectly summarizes the essence of the album: a fight for social justice and anti-racism, mixed with autobiographical references. The blend of musical styles, from rock to surf to bossa nova, demonstrates Fik's versatility as a musician.

Tristano B. Goode offers a strong contrast to the rest of the album with its rock sounds and bold dissonances. The charged lyrics and the composition in odd tempos add a progressive and almost theatrical dimension to the piece.

Figaro, completely instrumental, is a pure expression of Fik's guitar. The contemplative atmosphere is amplified by the delay effects and the meditative serenity of the ambient sounds, creating a moment of reflective pause within the album.

Basket Case, the Green Day cover, is completely transformed. Fik's interpretation brings the song into an almost blues dimension, with a new instrumental arrangement that includes a string section, giving the piece a surprising freshness.

In conclusion, “Primavera” is an album that challenges convention and crosses musical and thematic boundaries with audacity. It's an album that demonstrates how music can be a powerful vehicle for social and personal change."

Alessia Ventura - Onde Indiependenti

While the first leaves were starting to turn yellow, we started playing "Pissin'around" by Las Flores Molestas and, miracle, autumn suddenly became just a mirage. Merit of the Paduan band that with its load of colorful Latin jazz'n'roll made us forget the first cold of the season and embraced it with tropical rhythms and the sun of good music. This is a really well played album where you can hear, practically in every single harmonic passage, how much fun the band members had to record it. Take the second track, "Hakuna Matata!" and tell us if you too, roughly around 1.15, didn't feel an urge to get up from your armchair and start dancing in the living room.

Here, in our opinion, this fact of extreme sociality of Paduan music is perhaps their greatest merit: this is an album to be listened to in company, perhaps even better together with a group of friends or, why not, even among strangers who then in the end we always get to know each other.

After all, music also and above all serves to create bonds and "Pissin'around" is certainly an excellent help in doing this. Honorable mention then for the final track, "At the Station Intimate Version" which revealed to us a more romantic and tormented side of Las Flores Molestas, which we would love to explore in their next works.

Mattia Nesto - RockIt Magazine

"A Caisa Drum, a Stratocaster and an original idea of experimental music

I had some thoughts before listening, some waste from the day, but then during the dadaist tracklist of Play + Rec everything faded away. To really understand this duo, however, we must start from their idea of music and their instruments.

Stefano Cosi hits his Caisa Drum, a sort of Hang Drum, into which he inserts a ping pong ball if necessary. Then, in addition to recording his thunderous laughter, he plays the drums, a distorted cello, a Kalimba Sansula with the Wah Wah incorporated, an instrument that imitates the sound of the wind. Federico Ficarra instead takes up the Stratocaster electric guitar to which he adds various "Live Electronics" effects.

The result cannot be explained. You can only sit there, still, and listen. Stefano and Federico define their creations as experimental (definitely), rock (in the approach) and ambient (as instrumental songs without singing).

Some passages might recall samba, others Tibetan bells, still others are hypnotic. The fingers on the Caisa Drum seem to chase rhythms of ancestral tribes, while the other sounds enrich the atmosphere.

There is no more right or better time than another to press play on this album. Because there is always a thought to banish. Of course, if you want, you can crush Rec on your reactions."

Francesco Carrubba - RockIt Magazine

In this playlist you can listen to some recordings of a solo piano concert performed by Fik at the Ritz Hotel in Abano Terme in Padua, Italy. You can see a YouTube video of the same performance in the appropriate section of the site.

Fik has rearranged the bass lines (also walkin 'bass and boogie woogie) and the chords of several songs from his guitar repertoire for solo piano and what you can see and hear is his first performance as a solo pianist ever.

Inside the playlist you can listen to Malafemmena by Antonio de Curtis, Resta Cu Mme and Nel Blu Dipinto di Blu by Domenico Modugno, Ma Le Gambe by Bracchi and G. D'Anzi and C'est La Vie You Never Can Tell by Chuck Berry .

Another song that Fik enjoyed arranging for piano is Hello Dolly by Jerry Herman, a song later made famous by Louis Armstrong. You can also find a YouTube video of this piece where Fik plays the theme with his right hand while performing the walkin' bass with his left hand.

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Fik GOALS

Rockit Interview "There is no pleasure in Italy in being Fik"

There is no pleasure in Italy in being Fik

To become a modern Freak Antoni, Fik merged street music, jam sessions and conservatory to create the Karneval of Love, or the parade of self-determination of bodies.

Federico Ficarra is Fik, a musician born and raised in Padova. "In life I deal with music at almost three hundred and sixty degrees", he says. "I am a concert performer and arranger. I compose music and words, I am a street artist, I teach privately, individually and in groups, and I organize events and jams". To train, he moved to Berlin, where he immersed himself in the world of street music and jam sessions, jazz and the self-determination of bodies, eventually forming his own band: Fik y las Flores Molestas (with whom he has just published a new album, Primavera). Inside their pieces there are jazz and blues influences, mixed with the typical freak style of the founder, a modern Freak Antoni.

During our chat he mainly talks about one event, the Karneval of Love. It is "a parade whose main content is the self-determination of bodies, also understood as a liberated artistic expression universally inherent in the human being". The Karneval of Love was born in Germany in 2013 and it was not easy to bring it to Italy. "The Lega Nord mayor Bitonci immediately banned the demonstration in the streets in Padova. But in general there were also doubts on the part of artists' associations, associations for migrants and for women's rights. They thought that anti-prohibitionist content, body-painted bodies and songs about ethical non-monogamy could disturb children and families. But Fik's next project is to resume with the Karneval parades, "which today seems increasingly urgent and relevant to me". We met him to tell us how a freak parade and a jazz band coexist.

What was your academic path?
I picked up the classical guitar when I was 8 years old and studied with Louis Valencia, a teacher from Ecuador. In high school, listening to Scar Tissue by RHCP, I switched to electric guitar and then to jazz to prepare for the entrance tests at the jazz conservatory in Graz, the toughest in Europe. Realizing how serious it was (there were heroic stories of people who stayed to study for 72 hours straight, musical hikikomori) I went to Berlin and continued my studies as a self-taught person, absorbing everything I could, doing concerts in clubs, as a busker on the streets and frequenting jam session environments. Finally, having returned to Italy to have surgery and recover from PTSD (Post Traumatic Stress Disorder), I graduated in jazz guitar at the Padua Conservatory, in particular with guitar maestro Daniele Santimone and piano maestro Marcello Tonolo. Here I had privately obtained a Theory and Solfeggio License and had previously graduated in Recording Room Technician, an impractical and very theoretical diploma where I mainly learned musical information technology, I studied classical piano and Ear Training.

Where did you meet the rest of the band?
The first formation of the band was improvised as sometimes happens for jazz ensembles, on the occasion of the concert held at the Insomnia Night-Club in Berlin as the first official edition of the Karneval of Love festival in 2013.

Subsequently we continued to spread this effervescence in that and other clubs such as the Kit Kat Klub, the Brunnen70, the Kiki Sol, in the parks and on the streets always in marching band formation. Many musicians participated in these editions of the Karneval of Love, especially amateurs, the main recipients of the festival. Then we managed to bring the event to Italy too. The first edition in Italy took place at the former Mame, now Parco della Musica, in Padua, there I met Amedeo Schiavon, the drummer of the first permanent group in Italy, and as bassist I chose Alberto 'Bebo' Pretto, a former colleague of studies at the conservatory.

How would you define your music?
The music that I compose and then arrange, play live and record in the studio is difficult to define, the reference genres are too many: jazz, swing, blues, funky, grunge, samba, pop, rock, hard rock, metal, surf , rock'n'roll, discomusic, ambient, cinematic, minimal, jungle, reggae, dubstep…lately I've been inspired by rap and hip hop. Difficult to target and brand! I like to call it hard jazz hip pop fusion!

What is Primavera about?
My latest work was born above all from the need to express and sublimate a pain that found no expression except in music. There are various autobiographical references as happens in blues music (the one I am most attached to) or rap. But also many themes that concern anti-racism, anti-fascism, social justice, anti-abilism, ecology, anti-nationalism, anti-militarism and pacifism.

Besides the Karneval of Love, what are your concerts like?
I have a couple of anecdotes to tell in particular. I remember a club in Berlin, not a club nor a night club, a simple place in Wedding where I was singing the songs of Pissin'around with voice and guitar accompanied by my saxophonist colleague Milo Lombardi. At a certain point people began to undress as in the song Gianna by Rino Gaetano, a dancer friend climbed onto a table dancing and twirling her bra: panic broke out, many people stripped to their underwear and a parade spontaneously started up and down. down the two floors of the room.

The same thing happened at one of my solo concerts in Padua. Spontaneously a parade started with Mexican wigs and sombreros while I sang Besame Mucho around the place in mariacho style, even stopping inside the bathroom. The audience had invited me several times to take off my shirt, which I did without hesitation. Besides, it was hot. In Berlin the manager of the venue took part in the enthusiastic parade, in Padova I never played in that venue again.

Future projects?
Compose and record new music, new songs also in English and Spanish, record classics of blues, rock and jazz music in live concerts, take up old compositions for guitar alone from high school and make an album from them. I would like to resume the study of classical music and other piano readings and start a Free jam session (without covers or stylistic constraints) in Padua and its surroundings. Above all, I want to start organizing the parades of the Karneval of Love festival again, which today seems increasingly urgent and relevant to me. At the moment I'm arranging the horn section for a small parade at a freak wedding which will be very special.

The article that the Berliner Morgenpost, a well-known Berlin newspaper, dedicated to me. Fik y las Flores Molestas.

Translation:
"The street is their stage. Passers-by and Metro travelers are their audience. Berlin's street musicians are anything but amateurs who want to collect their daily tip. Some have attended a conservatory and played in large concert halls concert This is done by the blues player Federico Ficarra from Venice, who plays here in front of the Metro station at Potsdam square.

Berlin is for him just a way station. His plan is to go to the USA.

Five local stars talk about their life in Berlin and their concerts in front of an audience of passers-by in the illustrated Berlin newspaper.

If Federico Ficarra had been born in the 16th century, perhaps he would not have left for Berlin. Back then Venice was still the city of music par excellence. Vivaldi composed his violin concertos and the Venetian School around Claudio Monteverdi favored the transition from the Baroque to the Renaissance with his compositions.

But that is long gone, the times of musical progress have passed. "The Venetians no longer have the spirit for music" says the musician born in the lagoon city, and his gaze, through the glasses, is a little sad.

"My professor at the university was not able to explain what a pentatonic scale is".

For his own musical renaissance Ficarra had to come to Berlin.

"Everyone at home told me that there would be many possibilities in Berlin," he recalls. He immediately hears his baritone voice, before descending the stairs to Metro line 2 at Potsdam square.

Ficarra stands there in jeans and a pullover. A man and his guitar in the stream of passers-by. His eyes are closed as he plays Tommy Johnson's "Big Road Road Blues". He sings it energetically with his distinctive Italian accent. A young lady searches for her purse, Federico smiles.

He sometimes gets angry because he can only play covers: for his own pizzicato blues compositions there is too much noise in the tunnel.

Then he goes back to the classics, like House Of The Rising Sun, so he can play hard on the strings in A minor.
Pragmatism matters.

With these Classics it is easy to impress people: the 24-year-old earns on good days 20 and an hour.

Continue ---->

Click on the photo to read the translation

An article that the Berliner Morgenpost dedicated to me.

Translation:
"The street is their stage. Passers-by and Metro travelers are their audience. Berlin's street musicians are anything but amateurs who want to collect their daily tip. Some have attended a conservatory and played in large concert halls concert This is done by the blues player Federico Ficarra from Venice, who plays here in front of the Metro station at Potsdam square.

Berlin is for him just a way station. His plan is to go to the USA.

Five local stars talk about their life in Berlin and their concerts in front of an audience of passers-by in the illustrated Berlin newspaper.

If Federico Ficarra had been born in the 16th century, perhaps he would not have left for Berlin. Back then Venice was still the city of music par excellence. Vivaldi composed his violin concertos and the Venetian School around Claudio Monteverdi favored the transition from the Baroque to the Renaissance with his compositions.

But that is long gone, the times of musical progress have passed. "The Venetians no longer have the spirit for music" says the musician born in the lagoon city, and his gaze, through the glasses, is a little sad.

"My professor at the university was not able to explain what a pentatonic scale is".

For his own musical renaissance Ficarra had to come to Berlin.

"Everyone at home told me that there would be many possibilities in Berlin," he recalls. He immediately hears his baritone voice, before descending the stairs to Metro line 2 at Potsdam square.

Ficarra stands there in jeans and a pullover. A man and his guitar in the stream of passers-by. His eyes are closed as he plays Tommy Johnson's "Big Road Road Blues". He sings it energetically with his distinctive Italian accent. A young lady searches for her purse, Federico smiles.

He sometimes gets angry because he can only play covers: for his own pizzicato blues compositions there is too much noise in the tunnel.

Then he goes back to the classics, like House Of The Rising Sun, so he can play hard on the strings in A minor.
Pragmatism matters.

With these Classics it is easy to impress people: the 24-year-old earns on good days 20 and an hour.

Continue ---->

THIS IS FIK

Federico Ficarra is a guitarist, singer, multi-instrumentalist, and composer. In addition to this, Fik deals with teaching, and with Social Media, Booking and Band Management. He collaborates, alongside musician producer Fosco17 Luca Jacoboni, with record promoter Marco Stanzani who collaborated with artists such as Pino Daniele, Lunapop, and Lucio Dalla.

Fik lived for 4 years in Berlin: he played (guitar and voice) in several very famous clubs such as the SO36 (David Bowie was cheered on by both the public and musicians to take the stage at the height of his Berlin period), the Insomnia-Nightclub, the Brunnen70, the Kit Kat Klub (Liza Minnelli, the venue where the Love Parade was born) where he led a festival from he designed called Karneval of Love, the Sony Center at Potsdamer Platz, Hotels such as the Circus Hotel at Rosenthaler Platz. Jazz Clubs such as B-Flat, Waldo Bar, Ernst, Zosch, and Naked Jazz Festival were exported from New York to Berlin by drummer Eric Vaughn. He has been invited 2 times to play at the Yorckschlösschen Home of Jazz & Blues. The main newspaper Berliner Morgenpost dedicated an article to him with photos on the front and inside pages. In Berlin, he collaborated with Milo Lombardi, Charles Sammons, Lars Karlin, Roland Satterwhite, Pinar Tatlikazan, Seraphim Greno Bradel, Mike Basden, and others.

In Italy he played as a soloist for 2 years at the Ritz Hotel in Abano; in Venice 1 year at the Moresco Hotel and a few months at the Carlton Hotel on the Grand Canal, restaurant, and Top Of The Carlton Sky Lounge. With his band and other previous formations (blues and jazz) he has played in many venues in Padua (ex-Mame, current Parco della Musica, Caffè Pedrocchi, Palazzo Zuckermann, Osteria Barabba, Pedro, and many others), Venice (Hard Rock Cafè, Al Vapore, Forte Marghera, Paradiso Perduto...), Vicenza (Vinyl, Rive Jazz Club), other cities in Veneto, Friuli Venezia Giulia (Trieste, Sofar Sound), Trentino, Lazio (Rome) and Lombardy. He has played in 2 editions of the Sherwood Festival (one as a soloist, one in a marching band) and other local festivals such as Yucca, Navigli, Oktoberfest, or Folk Festivals. In Italy, he collaborated with Glauco Benedetti (Jovanotti), Giovanni Perin, Giulio Tullio (Elio), Michele Uliana, Edoardo Brunella, Alessandro Brunetta, Stefano Cosi, Sergio Gonzo, Tommaso Piron, Amedeo Schiavon and many others.

In the past he studied theater acting, in particular comedy and impromptu, and worked with well-known directors and actors from the Teatro Verdi in Padua and the Teatro Piccolo in Milan: Lorenzo Maragoni and Giorgio Sangati. Fik obtained the Theory and Solfeggio License with Maestro S. Lanza, and 2 degree diplomas, one in "Computer Music and Sound Design" (in particular studying classical piano with Maestro G. Di Toma), the other recently in " Jazz guitar” studying with Masters M. Tonolo (jazz piano, arrangement), D. Santimone (guitar) and F. Angiuli (ensemble music, history), both with top marks at the Cesare Pollini Conservatory in Padua; here he created with Alvise Vidolin, Luigi Nono's sound director, an audio installation with binaural synthesis and motion capture that was greatly appreciated by Ennio Chiggio of the N Group of Padua. He was admitted to the Berklee College of Music summer courses at the highest level (IV), studying with Jon Damian and Jim Kelly at the Umbria Jazz Festival. At the Gershwin school in Padua, he attended a specialization course with the jazz singer Alessia Obino.

He reads on to hear Tolo Marton's critique of Fik!

Photography by Sven Lambert, Berliner Morgenpost

"When you realize that your foot is tapping the rhythm and you feel like singing it means that the music is entering your soul, Federico Ficarra is one of those performers who makes you feel these emotions..."

Andrea D’Addio - Berlino Cacio e Pepe

Federico Ficarra, in art Fik. Italia. Foto by Stefano Cosi.

Photography by Stefano Cosi

“His songs confirm the idea I have of his musical approach, imbued with a sensitivity free from particular influences. A lot of expressiveness and a relaxation that does not hurt. Basically he is a person who sees and plays music with his own perspective, whatever it is, and this is not only positive, but also rare these days.”

Tolo Marton is the greatest rock guitarist in Italy according to Repubblica.

Always him in reference to the album Pissin'around released in October 2020:

"It seems to me a very good album, different and with interesting insights!"

Marton collaborated with Ian Paice, Roger Glover, and Don Airey of Deep Purple and received the Jimi Hendrix Electric Guitar Festival Prize in Seattle (USA) directly from James Allen Hendrix, Jimi's father.

Federico Ficarra, in art Fik, playing guitar and singing at Vinile Club in Vicenza, Italia. Foto by Lucrezia Pegoraro.

Photography by Lucrezia Pegoraro

"The street is their stage. Passers-by and Metro travelers are their audience. Berlin's street musicians are anything but amateurs who want to collect their daily tip. Some like Federico attended a conservatory and played in large concert halls.
Berlin is for him just a way station. His plan is to go to the USA."

Lorenz Vossen - Berliner Morgenpost

Follow all the events!

BAND

THE BAND!!!

Federico Ficarra playing guitar, Emanuelle Pecciarini playing drums and Fabio Barbaro playing bass. Fik y las Flores Molestas

Emanuele Pecciarini

professional drummer, was born in Florence in 1998.

He began studying drums at the age of eight at the “F. Landini ”(FI) where he immediately distinguished himself for his abilities by winning a scholarship.

He continues his studies graduating from the "Lizard" academy and after that he begins an educational path at the "F. Venezze” in Rovigo which will conclude with the diploma in drums in 2021.

During the courses at the conservatory he has the opportunity to study with great masters such as Stefano Paolini, Ricky Roma, Pier Mingotti and participates in masterclasses with drummers of the caliber of Dave Weckl and Mark Guiliana.

In recent years he has carried out an important concert and studio recording activity with groups and artists of the caliber of: Edo (XFactor), Lamponi Di Piombo, Folk Solution Band, Fik y las Flores Molestas, In Diretta Nel Vento (official tribute band of the Pooh) and DeEsperanza.

Emanuele Pecciarini playing drums. Drummer of Fik y las Flores Molestas.

Photography by Stefano Cosi

Alessandro Brunetta

born in 1991, he began studying classical clarinet at the age of 7 and at 15 he discovered the blues, subsequently learning sax, piano and harmonica. Since 2009 he has been active in the concert scene in Italy and abroad.

He has played with Glincolti and Milanese bands such as Calibro 35 and Dente, with whom he has toured from Catania to Paris. Currently he plays with Al & Jay (also in Slovakia) and the StoneCrazy and HD Holden.

He often travels to Berlin, and London to play with the Emma Wilson Blues band in which Iggy Pop's drummer plays.

Alessandro Brunetta playing saxophone, special guest of Fik y las Flores Molestas

Photography by Fabio di Lisa

Alessandro Brunetta playing blues harmonica, special guest of Fik y las Flores Molestas

Photography by Fabio di Lisa

Fabio Barbaro

electric bassist born in 1991, born under the sign of Rock but electrocuted on the road to Damascus by Jazz, he studied at the Gershwin Music School in Padua, at the Thelonious Monk Music School in Mira and at the Padua Conservatory with Masters such as Alessandro Fedrigo, Franco Testa, Giorgio Panagin and Marco Privato, and received private lessons from various professionals.

Lover of all musical genres, over the years he has played with various musical formations in Jazz, Fusion, Rock, Metal, Bossa Nova, Italian and Foreign Pop, Songwriting, Ethnic Music and Partenopean Music groups, playing in various clubs, hotels, events, restaurants, festivals and private parties.