La Strada Is On Fire (And We Are All Naked)

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“I wanted to produce a record that would reflect my everyday life in the studio.

When I play, I usually start from scratch, exploring small acoustic sound sources, programs and hardware devices as my main drive for inspiration.

Given enough time I end up finding a small motive that attracts my attention in a special way and that I develop, certain to reach a point where I’ll find new reasons to keep working on it, until something substantial is defined.

In those moments, when something is sounding consistently strong and interesting, I start recording without even stopping what I’m doing.

The question of what to do and where to go at any given moment thus becomes a reference in my work.

It was over those moments that I tried to navigate, creating the same level of approach for the guests, always keeping in sight the possibility of being surprised by what would come out of it, searching in the mix, choosing new paths from the received and found material. Only then I thought to organize and mould the final shape. I found relationships, I created associations and gave them some sense as if everything was a game.

From my point of view, to think about all the variables beforehand is a good thing, when the functional effectiveness is gaining over formal values or even over ethical values, as is the case in civilian or aeronautic engineering. When creating, your set of values differs, they’re maybe even more risky.

In this record, things are as they are, because that’s how they are. But they could also be different. It could not be like this in aeronautics!

I take Picasso’s words and make them my own: when I paint, my goal is to show what I find, not what I look for.

It is trivial but, maybe for being part of what I am, I like to be surprised by what I find.

It’s like in an oriental poem: if you understand things, they are as they are; if you don’t understand things, they are as they are.”