LUIGI PORTO – “Scimmie Vol. 1″ (Cine 10) – out September 8th!
It is a great honor and pleasure to finally announce the release of the first soundtrack on Cineploit by Italian artist LUIGI PORTO !
September 8th LUIGI PORTO´s score for ROMANO SCAVOLINI´s upcoming film „L´Apocalisse delle Scimmie“ will be released under the title “Scimmie” (Cine 10).There will be 250 copies as an LP/CD Set, 250 LP only and 500 copies as a Digi CD.
Luigi Porto is an Italian musician and composer. He released some experimental songwriting albums with his former solo project Appleyard College, and with the Italian band Maisie. He is a resident composer in a contemporary opera company based in New York City.
With a background in visual arts, he works also as a sound designer in films and theatre performances. SCIMMIE, his first release under his own name, is a soundtrack to an unreleased experimental movie.
In his own words:
<<SCIMMIE is a musical conversation that flows parallel to Romano Scavolini’s film.
These were the agreements. When we met the first time, 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, divided in three volumes like the film, was conceived during the last years in several places of the world, 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 – releasing instead 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, overdub, psychedelic jamming. 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 unfamiliar to everybody, even through the various featuring, conceived as “representatives”. It is a political vision. Contradiction, schizophrenia, I wanted to ride them, ritualize them, show them. Not as a contamination, but as a struggle, a fight.
I try to compose and, once written and recorded, handle the tracks as they were found objects, with continuous elevations and debasements – actually “shuffling the cards” (even Romano in the meanwhile was doing it with the film, editing the episodes and then shuffling them). Hiding the composition process sometimes, and sometimes instead showing it totally naked, make it emerge. Writing “straight”, recording, letting the material settle until the emotional detachment comes, and then mistreating it, jamming upon it, giving space to randomness to find new paths. This, for me, is a method and a liturgy. >>
ROMANO SCAVOLINI is probably known best for his movies „Un Bianco Vestito per Mariale“ (aka „Spirits of Death“), „Dog Tags – Platoon to hell“, „Savage Hunt“ or „Nightmare“. „L´Apocalisse delle Scimmie“ is starring John Phillip Law in his last role before his death.
George Pacheco/Boston Examiner
Austria’s Cineploit Records have carved out a positive reputation in recent years for their dedication to the music and culture of Italian genre cinema, specifically from the 1970s and 80s. The label’s most recent release represents a bit of a shift, however, a modern soundtrack release for the 2012 film L’Apocalisse Delle Scimmie from Fiume native director Romano Scavolini, most known for his 1981 horror opus Nightmares in a Damaged Brain.
Luigi Porto composed the score-shortened here simply to Scimmie for its CD release-for Scavolini’s film, and brings with him an avant-garde sensibility which takes influence from the tense and suspenseful giallo scores of old, while adapting that classic Italian soundtrack style with a most of darker, modern extremes. There’s a bit of influence from the musique concrete movement of recorded sound, as well as a host of atmospheric and, at times, startling vocal performances from man, woman and monkey, a host of which adorn the album’s striking red cover art.
There’s even a track featuring hip hop artist Mr. Death, who raps over the track “Distaste II” to a subtle strings and a down-tempo beat. Elsewhere, the use of those strings close out the score in a suitably dark fashion, while wordless female vocals strike the perfect, balanced chord to set up Luigi Porto’s ScimmIe as a great, uniting force between Italian score sounds of old with a smart, focused vision of the new.