Without disturbing philosophical theories related to the "historical courses and resorts," everything that has been set aside to make room for "new" and the need to move sooner or later returns, also masked by new, but unchanged in substance.
Vale in fashion, politics, in every aspect of cultural life, and then in music. If we have time to wait, if we are fortunate to have long life, the wheel moving us back things already experienced, some positive, some a bit 'less, and ... if I had kept in the drawer of my pointy shoes and pants flared as a teenager, fitness aside, I would have been able to re- after some luster, forgetting my age, also in motion.
Some music has been put into a corner too fast, but ... quality pays.
Wanting to play on the literal meaning of "progressive music", one could say that the dynamism, the need for progression, have led to a rapid evolution of the genre, until the declaration of "death."
And now we are again in front of the music phenomenon of the "New Prog", which may not have the success of the prototype, because the world has changed, and in this case I would say ... unfortunately. But the quality
has nothing to do with the music that we are dished up daily by "official channels", I refer to the concept that emerges during the interview with Alex Carpani , when it comes to creating the image of " immortality of music, what I always stick to the" Prog Music ". A long introduction
mine, because "the argument" musicacheamo "becomes verbose and talkative, as I fell silent in front of the building ad hoc made for public purchase.
" The Sanctuary, " new album by Alex Carpani, this is a masterpiece and I have no doubt. I exaggerate?
A masterpiece by my rents, according to my yardstick, that is to a man influenced by the experience, from all music, some music, watched and heard when it was born.
episodes often happen in life quit smoking, even if not currently appear on the fundamentals.
Alex, by his own admission was "struck by lightning on the road to Damascus" to a meeting as a child, in Switzerland, the one with Keith Emerson, and this explains a lot to the listener carefully to the music of Carpani.
unpleasant, at times, quotes and comparisons, but I found the album a deadly mixture, that the experts can be simplified with "the union between the genius of ELP and harmonic solutions Genesis style. "
Ten songs that make up a suite, ten "episodes" composed, arranged, orchestrated, produced by Carpani, with a truly astonishing.
I found the "vocal" Alex "featuring". Perhaps it is for him to sing a contingent fact more than a passion, but to provide a personal touch badge is worth millions of times more than standard power and extension exercises.
The keyboards are of course behind this "The Sanctuary".
Alex Carpani availed itself of the collaboration of Gigi Cavalli Cocchi ala drums and percussion, Ettore Salati guitar and bass Fabiano Spiga.
be highlighted on the cover designed by the legendary Paul Whitehead , in a sort of common thread that ties the past to the present.
My small contribution to the cause of good music is shared, something that I pursue every day. "The Sanctuary " will no doubt have a place of privilege in my action of diffusion.
http://www.myspace.com/alexcarpani
A bit of biography:
http:/ / athosenrile.blogspot.com/2011/02/alex-carpani-biografia.html
Alex Carpani is distributed by :
http://www.maracash. com /
Reading your story musical passions emerge very different. It 's something that I'm finding in all new groups who will not settle for "music and words, but they need to expand in various fields, expressing themselves through different arts. Do you agree that the "new course" may be represented by the union of a cultural time well divided between them? If so ... how did it come to this need?
Every person is the result of a mosaic of passions, interests, inclinations and experiences. It 'nice that everything is normal and find a place and everything that comes in handy, as personal baggage to carry around for life ... In my case, music, photography, contemporary art, cinema has always lived.
The "old" like me, can not help but be fascinated (so healthy envy) from your knowledge with early Emerson. I saw him live in 1973 and I repeated the experience five years ago. How much can really affect their lives meeting with the mythology of music?
The meeting took place at the best moment: when I was a child. I was 7 years old and I was not a musician. That meeting, along with the music that resonated in my house for years, I have shaped, influenced, in precisely the right time. If it happened now I would have watched with admiration in his eyes Emerson, from fans, but was not the same thing. Could not have affected that much, because I am an adult size.
"Music and poetry," words that you know very well. Often wonder what they really use the lyrics to "tell" what is really important messages, never forgetting that kids (and even today we know that languages \u200b\u200bdo) we fell in love songs which we did not understand a word. What do you think?
Yes, it's an experience that I made some years ago, dedicating two trilogies, with two different poets. It 'a path that I invented, in which the music and the verses were never a feature in the other, but always parallel, equally spaced. I was not interested music of the verses (songs were ...), nor of the verses I was interested in sticking up for a music already written. I wanted that the verses were music, sounds, beyond their semantic value. And I wanted that music was through poetry verses "music." The result was something new and sooner or later I will try to bring out this material, which I think merits.
Your expertise will lead to the possibility of autoprodurti, independent of them. I guess it's great satisfaction that comes that can be self-sufficient, but the whole thing could also be read in different ways, such as that resulting from the evolution of music businnes or lack of trust in traditional situations. How are things?
They are in this sense: I realized over the years that we must self-produce, but until some point. Your knowledge should help you get clear about what you do and how you do it, but do not think you can do it all alone. At least that's my thought. Do not want to replace the engineer, to the chart, to record, but I know enough to talk on equal terms with these figures, supporting my ideas and letting them know where I'm going.
I tie to the previous question. There are "games" concerned with the appearance of communication to demonstrate that the result of work of many individuals improves once the ideas are reworked into communion. What do you prefer between teamwork and " expression alone "?
I am and always will be divided between the two dimensions. I am a loner who loves company. I am an individualist who loves to share. I wrote music just because I'm a composer and self-sufficient in this, but I like to make use of ideas, art and soul of the contribution of others, that's why I've never been too hard with my colleagues.
How has enriched, musically speaking, the meeting with the albums?
The his school, where I had the privilege of studying for four months, it was a great gym, especially because I did meet other musicians with the same interests. It was a full-immersion: sleeping, eating, working together, in the nature of Umbria, far from everything. Mogul, then, has shown in fact to believe in young people, investing in practice upon them, capitalizing on his experience.
Following your train of thought, from your early musical influences up to that you mentioned, you can figure out what was the path that led you to love progressive music. The concept of "Prog Music" has many facets, and can not be reduced to three rules on the cross. What is your version and what makes you love deep music for me immortal?
The fact that, in fact, is immortal. Putting you like classical music and jazz. The prog does not get old because its sounds, its styles are not tied to a current step, such a fashion, to modernism. E 'state of mind than a genre. And 'thinking to write in a classic rock music. E 'writing music indefinitely, development, arrangement of verses and choruses. Is even the possibility writing instrumental rock music. What other kind of lets you do it? It will not be a case that appeals especially to the musicians.
there in case your musical influences coming from Italy?
Not many I think. They are certainly more Anglo-Saxon ones. Italy is the land of melody, in all genres of music, because we have it in our DNA. To me it comes naturally, it occupies a lot more harmony and rhythmic power. The melody, then, comes by itself, but not as a carrier.
I do not want to fall into rhetoric, crucifying the Talent Show, which many experts determine how "healthy carriers of opportunity" for young talents. What do you think?
I think the worst possible. The talents you uncover in the streets, in pubs, local festivals, rehearsal rooms, not on TV. Who puts in the TV scene in "fake discovery of the talents" really need a pre-cooked food, frozen food, passing it off as fresh.
I'm reading an incredible book written by Bill Bruford (I highly recommend it to you). A concept that emerges frequently is "hunger" that the musician, even very successful, it can do if they decide to change gender, maybe going from rock to jazz. We need to be wealthy to make the music you love, forgetting what is the market?
I've heard good things from my friend Gigi Cavalli Cocchi and I think I'll read it. However, it is true, but the difference is that now the hungry sounds do you do the smooth, pop and Italian music, dance, rap or the infamous "covers" ... Making progressive rock is a luxury, there is doubt. Especially in Italy.
How would you like the evolution of your musical path over the next five years?
I published two albums, playing big festivals in 2-3 I still miss it and continue, in general, live performances, which is surely the most exciting part. Then I would only live with my music, but I think this will remain a utopia.
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