Le dimensioni del mio caos

Caparezza recalls the 1968 Italian shows of Jimi Hendrix and makes a comparison between the warm autumn revolution and sexual liberation that results in sexual phobia today, that justifies the pun title (as "Sixtyeight" in Italian is "Sessantotto", "Sex in everything" in Italian is "Sesso in tutto"). He also cites the groupie Cynthia Plaster Caster, who has become famous for having made some casts of the genitals of Hendrix and other artists. At the end of the track, emulating Hendrix performing the act of splitting the guitar on the banks of amplifiers, with this narrative pretext, he creates a path through space-time with the electric current generated, and meets Ilaria.

The meeting between Caparezza and Ilaria and is compared to that between Ulysses and the sirens. Hear the call of sirens refers to the ability to listen to their inner voice, from here the similarity between the English pronunciation of Ulysses and iullisses with "you listen." The song speaks about the singer's addiction to the Ilaria's character.

Caparezza is arrested for having pockets, a symbol of historical memory, from where the voice of the power that lies and manipulates. Clear reference to the Catholic Church, accused of obscurantism.

Here speaks a lazy student who looks at facts and historical characters with a gaze that tends to caricature and the climax makes the game of power that wants to promote ignorance among the younger generations.

Caparezza describes Ilaria, and plays it on two-way air conditioning (in fact, in Italian "Aria condizionata" is "Air conditioning"), and because it was conditioned by today's society, and because Ilaria – like air – has cooled him, disappointed by the girl he was infatuated.

Talks the Apulian spaceport's ideology. The "Space-port" is an impressive space opera created especially for propaganda purposes. Caparezza refers to the Salerno-Reggio Calabria, the Strait of Messina Bridge, Italian construction and Punta Perotti, works that have never been completed.

Dancing is about to die, denouncing the scourge of workplace fatalities and other problems in his region, performing an act of love for his land. The song, as previously Fuori dal tunnel, was wrongly interpreted, given that many people considered the track as a praise to the singer's region.

Inspired by the world of video games, Caparezza declares his firm intention to always want to "jump to the next level" as a man and as an artist, even at the cost of denying in the future what was yesterday (as well as he already done with his previous character, Mikimix).

While Caparezza is shoveling excrements (as sentenced by a judge) at the circus, trips for the spaceport are opening, with a plethora of jet setters who are on the show: he seems to want to warn any extraterrestrial by the arrival of these individuals, identified him as the true excrements of the Earth.

Description symbolic of circus populated by large rats, where the singer's life sadly goes on.

"Un vero uomo dovrebbe lavare i piatti" On a thrash metal tune, Caparezza goes against the current of most reactionary stereotypes about ideal man's identikit.

Imitating a child's voice and the melodies of the Zecchino d'Oro,a popular Italian TV programme where children sing, this song contains an initial quote on the policy agenda of the Matter man's Front by Guglielmo Giannini in the immediate postwar period. Inspired by indifference, Caparezza identifies the somebody of One man's Party, based on opposing values such as ignorance, ego and exhibitionism.

To the tune of A Fistful of Dollars we listen to social protest of the hero-worker, forced to work for freedom and in extremely precarious conditions that to bring home the salary has to bear the fatigue and the constant change of job.

Ending with the monkey Bonobo, free from all sorts of conventions, including those of type religious, sexual and ethnic, and so the "modern man's evolution", with modesty to act like a monkey.