Godblesscomputers is the project of the Italian producer Lorenzo Nada. Three years after Solchi, he’s back with a new track titled “Fire In The Jungle“. It features Giulio Abatangelo (guitars) and it is out now via La Tempesta International. It is part of the new album which will be out later this year. He explains:
“This is the first track of the album which I recorded and marks the beginning of my character’s exploration. The image at the center of this track is certainly that of fire: it was the first time that the names of the songs appeared so clear in my mind, as if they already existed somewhere.”
Check the track below and read our talk with him about the new track, the artwork, the concept of the experimentation in music and much more.
Let’s Start from the new track “Fire In The Jungle”. You said Fire is the first image which you connect with this track. Why? Tell us more about it.
When I first conceived this last album, I figured it as the sound track of a story I wanted to tell, a story set on an imaginary island. To me, image and sounds fuel one another and I often find myself with a specific image in mind when I play new music or I find myself imagining sounds when I take pictures or I visit places.
I pictured this specific track as the very first step on this unknown island, where we see a man running across the jungle, drawn out by the light of a fire.
You curated the artwork of the track with Guido Garotti. How did you choose it? How is important the visual part?
Guido is one of my dearest friend, we went to the same school and we know each other since ever. He’s a brilliant designer and photographer, it’s great to work with him, planning project to do together. I’ve always been a keen fan of working with people who are friends at first: ideas come easily and it’s fun too.
How much important is experimentation for your work? What is your way to give new shape to your sound and what is your concept of experimentation in music and art?
I’d say I like to “enhance” my music, rather than saying I “experiment”. Enhancing is a way of saying that a large part of study to sharpen ideas is involved, sometimes even thanks to some experimentation. The word “experimentation” though makes me think to something on the avantguard side of music, to some non-ordinary sounds, the search of the un-heard, etc
Actually my research goes in another direction: I try to give to the listener something to relate with, like if those sounds already existed in their head somewhere. I don’t mean I merely refile musical old solution but the challenge lies in finding a personal touch that keeps some intimacy with who’s listening.
You recently did a live streaming DJ Set for “Ferrara Sotto Le Stelle” Festival and you also were part of the compilation “Distance Will Not Divide Us. The music world is trying to react to what is happening. How are you living these strange times and what are the main concerns as an artist?
It’s a new challenge for everyone. Also musicians and artist in general are still processing how this will affect their work, both on the pratical and the artistic level. The first impressione was “music cannot stop now” and, when asked, I was happy to contribute with my music to help collecting funds for hopitals. Then I thought that a musical experience can’t be reduce to a Facebook or Instagram live recording.
Sometimes I think that in these days as a musician you are supposed to be even more visible, as this is the most important, otherwise you and your music just disappear. The human interaction is completely on a hold right know, and internet seems to be the only way to mimic what we used to do before. It’s scary, and I don’t like it at all. I feel it’s important for every artist to elaborate how to keep it’s music exposed, without devaluating it.
I guess it’s all very complex, we all have to figure it out, day after day, as much as we do on a personal level to keep our sanity. I’m using this time I have to write new music, developing new ideas, and I took the chance to start new ways of “remote co-working” on new music with friends.
You toured a lot the last two years. What are the best memories of the “Solchi” tour?
They are too many to remember them all! It’s kind of odd to think about it now, knowing that those memories linked to the “live dimension” (new stage, soundchecks, joking with the band while driving for hours across the country to reach the next venue) will be the last ones for a long time.
The gig I was the most excited for was the very first gig, the album launch in Bologna, the city where I live. All my friends where there, and this is always the best!
What piece of equipment do you feel is important, also if optional, for your live performances?
I don’t think there is actually. During the years I often changed my live set up, according to new ideas I came up along the way. At the very beginning, years ago, I avoided to use a laptop, I used drum machine instead, along with synth and samplers. I’m an analog enthusiast!
In my last tour I decided I wanted two musician with me ( bass/guitar and drums) and so I had to use a computer to send to the drummer sequences and click through ear-bud. Maybe the visual part is the one I think it’s the most important. This can be done with lights, or projecting images on a screen.
As I said in the first answer, my music is deeply linked to an imaginary and I like to be able to communicate also that part during a performance.
Ritual question. What are the best releases you recently appreciated?
In these last days I’ve been listening to “What Kinda Music”, the very last album by Tom Misch and Yussef Dayes.