Luigi Porto – Scimmie (CD, CIneploit Records/Snowdonia)
CD Digipack with booklet (12 pages)
“Luigi Porto crafts incredibly striking atmospheres…” (Stuart Maconie, BBC Radio 3)
“…It’s everything I’d look for in a modern film soundtrack” (Norman Records)
“A monumental opera” (Distorsioni)
“Luigi Porto has nothing to envy to the giants of art music” (Rockambula)
“….Something of a psychedelic ride” (Cinema Retro)
“A great, uniting force between Italian scores sounds of old with a smart, focused vision of the new” (Boston Examiner)
“Tra i migliori dischi del 2014”
– Impatto Sonoro
SCIMMIE is the soundtrack to a movie by cult director Romano Scavolini, “L’apocalisse delle scimmie”, still unreleased today. The Austrian label Cineploit Records released the album in 2014 with the kind permission of the director and the help of the Italian label Snowdonia Dischi.
“SCIMMIE is a musical conversation that flows parallel to the film by Romano Scavolini. These were the agreements. When we met, he told me “I don’t want film music. You have to create a sort of “pain symphony”, something that continues even if the film stops, a music that doesn’t care”.
The work was conceived in years in several cities, while from time to time I was moving for work reasons. I wanted to collect contrasting experiences, put them in line without seeking for harmony, instead releasing many individual energies, make them explode and implode – simply suggesting a direction. I used many composition techniques to do this, from classical 4 voices writing to sampling, to overdub, to psychedelic improvisation. I wanted to let this music emerge and sink between various identities, without being afraid of making a faux paus – instead trying to speak languages that are foreigners to everybody. even through the various guests, conceived as “representatives”. It is a political vision. Contradiction, schizophreny, I wanted to ride them, ritualize them, show them. Not a contamination, but a struggle, a fight.
I try to compose and, once written and recorded, handling the tracks as found objects, with continuous elevations and debasements – a total “shuffling the cards” (even Romano in the meanwhile was doing it with the film, editing the episodes and then shuffling them). Hiding the work of writing sometimes, and sometimes instead showing it naked, make it emerge. Writing straight, recording, letting it settle until the emotional detachment and then mistreating the material, improvising upon it, sometimes leaving everything to randomness to find new paths. This, for me, is a method and a liturgy. “
Availability: 3 in stock