Luna di notte | EmilianoManciniSongwriter

L'una di notte
È l'ora perfetta
Per andare a mignotte
Dopo una cenetta che ha preparato tua moglie
Ma hai altre voglie
Come sentirti il padrone
Del corpo di un'altra
All'una di notte c'è gente che fotte
e altra che piange inventandosi scuse
a cui credere
A cui cedere
Tu luna di notte non farmi vedere
quel che coscienza io debba sapere
meglio credere
Devo cedere
L'una di notte
E l'altra di giorno
Per passioni ghiotte
O solo un contorno
Luna di notte
Illumina il cielo
Per sempre coperto
Da un lurido velo
All'una di notte c'è gente che fotte
all'una di notte c'è gente che soffre
tu luna di notte non farmi vedere
Perché all'una di notte c'è chi se ne fotte
che all'una di notte c'è gente che soffre
tu luna di notte non farmi vedere
All'una di notte
Ci aspettan le botte
Per cantare canzoni
Rompendo i co...
All'una di notte c'è gente che fotte
e altra che soffre inventandosi scuse
a cui credere
A cui cedere
Tu luna di notte non farmi vedere
quel che incoscienza io debba sapere
meglio credere
Devo cedere

Here, I wanted to play with the pun between "l'una" (one o'clock) and "luna" (moon).
The message is a critique of betrayal and the objectification of people.

One AM (In Italian, "L'una di notte" it sounds almost identical to "Luna di notte" [Moon at night]—the moon in the sky. This creates a constant acoustic interplay of mirrors between the passage of time and the presence of the moon—something impossible to convey with "One AM" and "Moon.")
It’s the perfect hour
to go to whores
after a nice little dinner prepared by your wife.
But you have other cravings,
like feeling like the master
of someone else's body.

At one AM, there are people fucking
and others crying, making up excuses
to believe in,
to give in to.

You, moon of the night,

(Here the text explicitly addresses the "luna", shifting from the time "l'una" to the sky. In English, this shift requires changing the words, breaking the phonetic illusion of the Italian track)

don't show me
what my conscience needs to know;
it’s better to believe,
I must give in.

One for the night
and the other by day (l'altra - In Italian, "L'una" means 1 AM, but "l'una e l'altra" means "one and the other", referring here to two different women, lives, or faces: the wife by day, the prostitute by night)
for greedy passions,
or just a side dish.

Moon of the night,
illuminate the sky,
forever covered
by a filthy veil.

At one AM, there are people fucking,
at one AM, there are people suffering.
You, moon of the night, don't show me.

Because at one AM, there are those who don't give a fuck (In Italian, the text shifts from "fotte" as a literal sexual act to "se ne fotte" as an expression of pure, cold indifference: "whoever doesn't care/doesn't give a damn". The root verb is the same, amplifying the cynicism),
while at one AM, there are people suffering.
You, moon of the night, don't show me.

At one AM,
beatings await us,
to sing songs,
breaking other people's ba... (The text leaves the word "coglioni"—meaning testicles/balls, but used idiomatically in phrases like "breaking one's balls" to mean "being annoying"—unfinished. In Italian, cutting it off as "ba..." perfectly mirrors this sudden censorship.)

At one AM, there are people fucking
and others suffering, making up excuses
to believe in,
to give in to.

You, moon of the night, don't show me
what unconsciousness (Notice the subtle structural shift: in the first chorus it was "coscienza", conscience, while here it becomes "incoscienza", recklessness or lack of awareness. The speaker's moral filter is completely deteriorating as the night goes on) I need to know;
it’s better to believe,
I must give in.