10 starring Filippo Timi and“ The Origins of Music” of the Mexican Daniel Arvizu and Sam Madrigal, have seen the light, the need has arisen and also along the way. Felmay label, that with Turra in recent years has forged an important partnership on fronts of Turbogolfer, Mahmoud Band and Nippon Eldorado, decided to take a reasoned look, hyper-selected but very representative of the work that the guitarist-composer has put in service of cinema and arts. Turra describes this selection with these words:“ Fifteen years of music written on commission- factually- not immediately puts you in a position to seek a listening consistency outside of the work for which it was written. It’ s not obvious that‘ the’ music has the power to be heard outside‘ that’ context and it’ s even less obvious that the chosen songs, coming from distant worlds between them, are able to form a decent ladder for an album. In this sense, the sorting was technically and emotionally a nightmare for the bulk technically and emotionally to the story. I mean that when you write for a film you’ re actually trying to accomplish the sound imagination of the director, you have to do this, this is you always do; why I almost always had the feeling that many musics were born out of no less than two people, even in cases in which the songs were written long before the conception of the film: it seems a nonsense but when the director heard that your old song and he says‘ fuck, it’ s perfect!’ happens a special and disturbing thing, your song is about the re-birth for new meaning and you stay there as a father trying to remember what were you thinking when you wrote it. In two cases( Dustin and Trevor) I have therefore taken the liberty of also witness the inverse dynamics, that wonderful time when songs that you think svolteranno the work, in the end, are not included in the film.“
Alberto N. A. Turra track by track Lp starts with aggressive Otto Haiku sulla morte( il primo), a minute of roaring guitar. Ideas entirely different ones of Seconda lamentazione, which supports the discourse with arches, in an environment that suddenly becomes classical and meditative. The guitar
10 starring Filippo Timi and“ The Origins of Music” of the Mexican Daniel Arvizu and Sam Madrigal, have seen the light, the need has arisen and also along the way. Felmay label, that with Turra in recent years has forged an important partnership on fronts of Turbogolfer, Mahmoud Band and Nippon Eldorado, decided to take a reasoned look, hyper-selected but very representative of the work that the guitarist-composer has put in service of cinema and arts. Turra describes this selection with these words:“ Fifteen years of music written on commission- factually- not immediately puts you in a position to seek a listening consistency outside of the work for which it was written. It’ s not obvious that‘ the’ music has the power to be heard outside‘ that’ context and it’ s even less obvious that the chosen songs, coming from distant worlds between them, are able to form a decent ladder for an album. In this sense, the sorting was technically and emotionally a nightmare for the bulk technically and emotionally to the story. I mean that when you write for a film you’ re actually trying to accomplish the sound imagination of the director, you have to do this, this is you always do; why I almost always had the feeling that many musics were born out of no less than two people, even in cases in which the songs were written long before the conception of the film: it seems a nonsense but when the director heard that your old song and he says‘ fuck, it’ s perfect!’ happens a special and disturbing thing, your song is about the re-birth for new meaning and you stay there as a father trying to remember what were you thinking when you wrote it. In two cases( Dustin and Trevor) I have therefore taken the liberty of also witness the inverse dynamics, that wonderful time when songs that you think svolteranno the work, in the end, are not included in the film.“
Alberto N. A. Turra track by track Lp starts with aggressive Otto Haiku sulla morte( il primo), a minute of roaring guitar. Ideas entirely different ones of Seconda lamentazione, which supports the discourse with arches, in an environment that suddenly becomes classical and meditative. The guitar