With “Demoni e Dei,” Hunka Munka continue an artistic journey that bridges the origins of Rock Progressivo Italiano with a renewed, contemporary vision. From Roberto Carlotto’s formative years in the late 1960s and early 1970s to the solid creative partnership with Joey Mauro, the band’s new album stands as both a reflection on their history and a powerful statement of intent for the present.
In this interview, Hunka Munka look back at their golden years, legendary collaborations and festivals, while also exploring the concepts, sounds and creative process behind “Demoni e Dei,” an album that reinforces their place within the living tradition of Italian Progressive Rock.
“Demoni e Dei” revolves around the timeless conflict between good and evil, light and darkness. How did this concept take shape, and why did you feel it was the right theme for a Hunka Munka album today?
Joey: “Yes, it’s something that dates back to the dawn of time, the conflict between good and evil. Even between the past and the future. It seems like hundreds of thousands of years and generations have passed, but human beings don’t want to learn from their mistakes and continue to fight against themselves.“
Roberto: “Demoni e Dei” nasce da una riflessione molto umana prima ancora che musicale: l’idea che dentro ognuno di noi convivano luce e ombra, istinto e coscienza, distruzione e rinascita. L’Eterno conflitto tra bene e male è un tema universale, presente nei miti, , nella letteratura e nella vita quotidiana. Abbiamo voluto raccontarlo senza dare risposte assolute, ma cercando di mostrare quanto sia sottile il confine tra i due poli. A volte i demoni non sono entità esterne, ma paure, rabbia, desideri o fragilità interiori; allo stesso modo gli dei rappresentano ciò a cui aspiriamo, la forza, la speranza, la capacità di rialzarsi. Per gli Hunka Munka era il tema giusto perché rispecchia molto bene il nostro modo di vivere la musica: intensa, contrastata, emotiva. L’album vuole essere un viaggio dentro quelle tensioni che tutti affrontiamo, usando sonorità e testi che alternano oscurità e apertura, impatto e introspezione.“
Compared to “Foreste Interstellari,” this record feels more direct and, at times, more aggressive. Was this a conscious artistic choice from the very beginning?
Joey: “As you know, “Interstellar Forests” was created over 20 years ago, maybe even longer. This is why it’s a different album, drawing from various eras, while the new album is more modern, more current, closer to what we felt we needed to play today.“
Roberto: “Sì, è stata una scelta abbastanza naturale ma anche consapevole. Con ‘Foreste Interstellari’ eravamo più orientati verso atmosfere dilatate, quasi oniriche, mentre in questo disco sentivamo l’esigenza di arrivare al punto con maggiore impatto, sia musicalmente che nei testi. Il tema stesso di ‘Demoni e Dei’ ci ha portati verso sonorità più tese e aggressive: volevamo che l’ascoltatore percepisse quel conflitto in maniera più fisica e immediata. Ci sono meno filtri, meno distanza, tutto è più viscerale. Questo non significa aver abbandonato la parte più evocativa o introspettiva degli Hunka Munka, ma piuttosto averla incanalata in una forma più diretta, compatta e, in certi momenti, persino brutale. Era il modo più sincero per tradurre emotivamente quello che stavamo vivendo e raccontando.“
Several tracks are reworkings of songs originally linked to “Dedicato a Giovanna G.” or to Roberto’s period with Dik Dik. What guided your approach in revisiting these compositions after so many years?
Joey: “I want to point out that songs from the new album, such as “Ossessioni” and “Cavalli Alati,” were written in the ’70s by Roberto Carlotto and intended for Hunka Munka, but then ended up on the back cover of D D (on Suisa, they’re under his name). “Cattedrali di Bamboo” and “Aereo d’argento” were written by Roberto Carlotto together with Ivan Graziani, but were signed only by Ivan due to SIAE issues, of which there is a paper document that I personally see with my eyes.“
Roberto: “L’idea non era quella di fare un’operazione nostalgica o celebrativa in senso classico. Quelle canzoni fanno parte della mia storia artistica e personale, ma col tempo anche il loro significato cambia, perché cambi tu come persona e come musicista. Quando abbiamo deciso di riprenderle, il punto di partenza è stato capire cosa avessero ancora da dire oggi. Alcuni testi, alcune melodie o certe atmosfere conservavano una forza molto attuale, però sentivamo il bisogno di reinterpretarle con il linguaggio sonoro e l’attitudine degli Hunka Munka. Abbiamo quindi evitato di copiarle fedelmente: volevamo mantenerne l’anima, ma lasciarle respirare in modo diverso, più maturo e a volte più ruvido. In certi casi è stato quasi come riscoprire quei brani da un’altra prospettiva, con tutto il vissuto accumulato in questi anni. Credo che la musica abbia senso proprio quando continua a trasformarsi insieme a chi la crea e a chi la ascolta.“
How did you balance respect for the original versions of these songs with the need to fully integrate them into the sonic and conceptual world of “Demoni e Dei”?
Joey: “As you can hear, they were played in the style of the album, and they sound like they should sound today, without, however, departing from the original versions, of which we retained the feel and vinage instruments like Hammond moog and mellotrons“
Roberto: “Il rispetto per le versioni originali è sempre stato fondamentale, perché quei brani rappresentano un pezzo importante del mio percorso. Però credo anche che il modo migliore per rispettare una canzone non sia conservarla sotto vetro, ma permetterle di continuare a vivere. Per questo abbiamo cercato di mantenere intatto il nucleo emotivo e melodico dei pezzi, senza però avere paura di trasformarne l’abito sonoro. ‘Demoni e Dei’ ha un’identità molto precisa, più intensa, oscura e diretta, quindi era naturale che anche questi brani venissero attraversati da quella stessa energia. Lavorando sugli arrangiamenti ci siamo chiesti continuamente: ‘questa versione parla ancora il linguaggio di oggi e del disco?’. Se la risposta era no, intervenivamo senza timore, anche in maniera radicale. Ma ogni cambiamento doveva avere un senso espressivo, non essere un semplice esercizio di stile. Alla fine il filo conduttore è stato proprio l’equilibrio tra memoria e trasformazione: riconoscere da dove arrivano queste canzoni, ma farle diventare parte integrante del presente degli Hunka Munka.“
The album moves constantly between moments of apparent calm and sudden bursts of powerful energy. How did you shape this dynamic throughout the tracklist?
Joey: “Exactly, aside from the fact that this is part of my way of writing and playing, it’s like the waves of life, tranquility and turbulence. I’ve been influenced by both progressive rock and hard rock, but also by bands I love like the Beatles or the Beach Boys of Pet Sound.“
Joey, the keyboards are once again central to the album’s identity. How did you approach sound design and orchestration for “Demoni e Dei”?
Joey: “I didn’t just play orchestras, I played organ, piano, all the keyboard solos, and much more—let’s say a huge portion—obviously under Roberto’s supervision. But since he was a source of inspiration for me, you’ll have a hard time understanding who plays because my playing owes a lot to his style, he was like a master to me. I’ll send you some photos of my keyboards if you’d like.“
The Minimoog Model D plays a crucial role on this album. What does working with an instrument like this bring to the Hunka Munka sound?
Joey: “If there’s one thing I care deeply about, it’s my Minimoog model d from the ’70s that I bought it more of 30 years ago, when was cheap, not like nowadays. I made sacrifices to pay for it. It’s a first series, one of those that doesn’t stay in tune, among the first ones made (you know, they only made 5,000 in the world). It’s a beast of an instrument, but alive, temperamental, and also difficult to use today because you always have to give it the formal ‘Sir.‘ I also have a beautiful original Hammond C3 from the ’50s with some modifications, along with a tube Leslie 145. I’d like to take some photos for you.“
From a production standpoint, how important was having the album recorded, mixed and produced in-house at Dr. Phibes Studio?
Joey: “No, Dr. Phibes isn’t a home studio, but a professional one, packed with instruments, especially keyboards. But don’t forget that the album was also mixed and mastered by another legend of world music, Alessandro Del Vecchio, who has produced some of the greatest rock albums of the last 20 years.“
How did the involvement of the other musicians contribute to the final sound of the record, especially in terms of rhythm section and guitar work?
Joey: “The lineup on this album, which helped us, is similar to the previous one, except that on the previous one, the bass was shared between Andrea Torricini (Eckbert) and Andrea Arcangeli. This album features the drums and guitar duo of the Quinto brothers, who were indispensable for their contributions, and are great musicians and friends. Then there’s Barbara Rubin, with her violins and her beautiful voice.“
Progressive Rock is often associated with complexity, but “Demoni e Dei” also places strong emphasis on melody. How do you personally define the balance between these two elements? The lyrics closely follow the album’s themes and atmosphere. How did music and lyrics influence each other during the writing process?
Joey: “Well, have you ever wondered what the real difference is between much of the world’s prog music and Italian prog? It’s precisely the melody. We Italians are perhaps very romantic and believe a lot in melodies. If you listen to an American prog band, you’ll immediately understand the difference in melodies compared to an Italian band. All Italian music (from Sanremo to Neapolitan music) is made of melody.“
Titles like “La Vendetta degli Dei,” “Demoni,” and “Danza Macabra” evoke strong imagery. How important is storytelling in Hunka Munka’s music?
Joey: “I want to talk to you about the lyrics of “The Revenge of the Gods, la vendetta degli dei .” It’s the story of love, love that can be a salvation, but also a curse. It can be sweet, but also poison or torture. Perhaps love is the gods’ revenge on us. There’s a line in the song that speaks of two lovers who were found embracing when the lava of Pompeii ended their lives; they decided to die together, loving each other, embracing. This should make us think. Even the Danse Macabre and Demons have themes of reflection and contrast between emotions; there is nothing linked to religion, the occult, or politics. But only reflections on life and death, between good and evil and their contrast.“
The artwork and visual presentation play a key role once again. How did you collaborate with the graphic artists to visually translate the album’s concept?
Joey: “I sketched my idea on a piece of paper, then an artist, a great artist named Carmine De Marco, hand-painted the beautiful drawing of the devil and the little girl facing him. Then I colored it with a graphics tablet. We didn’t use artificial intelligence or any other modern crap; that’s a painting.“
Hunka Munka’s story is deeply connected to the late 1960s and early 1970s Italian music scene. What memories best represent that formative period for you?
Joey: “For me it was a period of fantastic inspiration all over the world, but probably roberto is better suited to answer you.“
Roberto, your early collaborations and experiences with bands like Big 66, Cuccioli, and Anonima Sound Ltd. were fundamental. How do you see their influence reflected in your music today? The Progressive scene of that era was closely tied to live performances and festivals. What was the atmosphere like, and how did those experiences shape you as musicians?
Roberto: “Quelle esperienze sono state una vera palestra. Con i Big 66, i Cuccioli e gli Anonima Sound Ltd. ho imparato cosa significa stare in una band, ascoltare gli altri e costruire un’identità musicale giorno dopo giorno. Erano anni di grande sperimentazione e libertà creativa, e credo che quello spirito sia rimasto dentro la mia musica ancora oggi. Anche se il mio percorso si è evoluto, porto ancora con me quell’energia, quella voglia di mescolare generi e di suonare con autenticità.“
Italian Progressive Rock from the “golden age” has since gained international recognition. Were you aware at the time that you were part of something historically significant?
Roberto: “Era un periodo straordinario, molto intenso e genuino. I concerti e i festival non erano solo occasioni per suonare, ma veri momenti di incontro e scambio culturale. C’era un pubblico curioso, attento, disposto ad ascoltare musica complessa e innovativa. Sul palco si respirava una grande libertà creativa, e ogni esibizione diventava un’esperienza unica. Per noi musicisti è stata una scuola fondamentale: suonare dal vivo così spesso ci ha insegnato il valore dell’improvvisazione, dell’intesa tra i membri della band e del contatto diretto con il pubblico. Quell’energia ci ha plasmati profondamente, sia dal punto di vista umano che artistico.“
Today Hunka Munka are described not just as a project, but as a fully formed band. How has the partnership between Roberto and Joey evolved creatively over recent years?
Joey: “You have to understand that for me Roberto is not just a musician or a friend but also a teacher. We’ve known each other for thirty years! For the same passion we have for vintage cars (or maybe we had…) and keyboards like the Hammond. We worked and composed together not only for Hunka Munka but also for other pop/Italo albums like Sir J, Karl Otto, which have become small cult classics of that genre over the course of several decades. So the temporal answer goes into the old past millennium!“
What does it mean, in 2026, to release a Progressive Rock album rooted in tradition but created with a modern mindset?
Joey: I honestly didn’t think about the meaning, I just played the music I liked and that came from the heart, it’s not a commercial operation.”
Finally, what would you like listeners—both longtime fans and newcomers—to take away after experiencing “Demoni e Dei” from beginning to end?
Joey: “I would like many people, especially young people, to get closer to this music, to this genre, played with heart and without tricks.“
With “Demoni e Dei,” Hunka Munka reaffirm that Italian Progressive Rock is not a nostalgic genre, but a living language capable of evolving while honoring its roots. Through powerful compositions, evocative themes and a dialogue between past and present, Roberto Carlotto and Joey Mauro deliver an album that speaks to history—without being trapped by it—and looks confidently toward what lies ahead.
Purchase “Demoni e Dei” here: https://www.mprecords.it/
Read our Review of “Demoni e Dei” here: [Review] Hunka Munka – Demoni e Dei