Decay Music no 7 - Ifigenia-Oreste
Paolo Spaccamonti
Decay Music no 7 - Ifigenia-Oreste
Boomkat Product Review:
Die Schachtel's seventh Decay Music installment is a cinematic excursion from Italian avant garde guitarist and composer Paolo Spaccamonti, who ruffles his elegiac drones with moody distortions and powdery beats. RIYL Stars of the Lid, Stefano Pilia or Andrew Chalk.
Spaccamonti composed 'Ifigenia/Oreste' for a play of the same name directed by Valerio Binasco, and even without knowing the source material, a foreboding sense of drama permeates each track. Using guitar as his primary instrument, Spaccamonti creates ghostly cues that crackle with nervous, cinematic intrigue. For the most part, he works beatlessly, layering granulated tones to create almost orchestral swells that he excites with saturation and distortion. On 'Elana', for example, melancholy, silvery harmonies float through watery, alien reverb trails, and on the eerie 'Menelao', Spaccamonti breaks up his scuzzy drones with stuttering processes. But he takes a diversion on 'Nuovo sposo', filling out the elasticated string tones with gravelly, glitchy beats pieced together from microscopic beeps, digital tearing sounds and a ritualistic 4/4 thud.
The composer cites Luc Bresson and Yorgos Lanthimos as atmospheric influences, and this comes across in the surreal, dissociated noise he creates on 'Amata luce addio'. Tapping the guitar strings, he makes a nervy, tempo-fluxing chase that works as a bridge between the score's more emotive cues and its industrial experiments. And on 'Pilade', Spaccamonti emerges with his most ornate cinematic dedication, using driving, emotive bass notes and whining, string-like guitar tones to provide some narrative heft to his grinding, VHS-ready percussion.
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Edition of 250 copies, with download.
Boomkat Product Review:
Die Schachtel's seventh Decay Music installment is a cinematic excursion from Italian avant garde guitarist and composer Paolo Spaccamonti, who ruffles his elegiac drones with moody distortions and powdery beats. RIYL Stars of the Lid, Stefano Pilia or Andrew Chalk.
Spaccamonti composed 'Ifigenia/Oreste' for a play of the same name directed by Valerio Binasco, and even without knowing the source material, a foreboding sense of drama permeates each track. Using guitar as his primary instrument, Spaccamonti creates ghostly cues that crackle with nervous, cinematic intrigue. For the most part, he works beatlessly, layering granulated tones to create almost orchestral swells that he excites with saturation and distortion. On 'Elana', for example, melancholy, silvery harmonies float through watery, alien reverb trails, and on the eerie 'Menelao', Spaccamonti breaks up his scuzzy drones with stuttering processes. But he takes a diversion on 'Nuovo sposo', filling out the elasticated string tones with gravelly, glitchy beats pieced together from microscopic beeps, digital tearing sounds and a ritualistic 4/4 thud.
The composer cites Luc Bresson and Yorgos Lanthimos as atmospheric influences, and this comes across in the surreal, dissociated noise he creates on 'Amata luce addio'. Tapping the guitar strings, he makes a nervy, tempo-fluxing chase that works as a bridge between the score's more emotive cues and its industrial experiments. And on 'Pilade', Spaccamonti emerges with his most ornate cinematic dedication, using driving, emotive bass notes and whining, string-like guitar tones to provide some narrative heft to his grinding, VHS-ready percussion.
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