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Egisto Macchi (1928-1992) has long existed in the shadow of his friend and famous collaborator Ennio Morricone. Founding member of the astounding ‘Il Gruppo Di Improvvisazione Nuova Consonanza ‘ Macchi was a busy film (LSD Inferno, Bandidos, The Assassination Of Trotsky) and TV (E.S.P, many commercials with Mario Bava) composer in late 1960s and 1970s Italy and France. Macchi also cut a number of highly desirable library LPs for the Gemelli, Sermi and other Italian labels in the 1970s. ‘I Futuribili’ is one of the greatest and most sought after of those LPs, a stunning and powerful hybrid of haunting orchestral arrangements, jarring avant tones and dense electronic atmospheres (the later played by the composer and ‘Il Gruppo Di Improvvisazione Nuova Consonanza’ bandmate Walter Branchi).
“Futurable”, in the sense of the word, is what might hypothetically be realized under certain circumstances, but which remains in future possibilities. These possibilities in Western musical culture are realized using the new technologies made available by new ideas, musical tape-equipments and electronic instruments that have enabled a new conception of sound and the musical composition itself. So Stockhausen declared: “since 1950, we began to question everything that is European music: not only the musical language, its grammar and its vocabulary but also the sound material used so far, the sounds themselves.” On this basis we have to include amongst the greatest authors of the concrete and electronic music, the name of Egisto Macchi, as the investigator of these new techniques: he composed, according to the various themes of the songs, unthinkable futuristic and exciting atmospheres. The great knowledge of the composition, sound and tremendous sensitivity and musical inventiveness allowed him to take full advantage of the great opportunity and freedom that such innovative equipment, extremely unusual for that time, allowed him. In the tracks of this CD, Maestro Egisto Macchi happily experiences all the possibilities of sound which at the time, the early seventies, could be imagined recreating all the atmospheres so well described in various musical titles, through minimalist instrumental sounds and vocals, with tricks of magnetic tape and analog sounds read in reverse, with concrete and electronic sounds. The score no longer exists: there are only the sound and atmosphere of a hypothetical and non-futuristic world. In “Camere Anecoiche”, for example, on a pulsing basis of electronic sound, all musical experiments above are involved, from time to time: electric guitar, recorded sounds of analog instruments that are read both normally and backward, sounds of light percussions with bongos and other idiophonic instruments, in no particular order. This studied and rarefied musical confusion constantly displaces the listener and does not allow him to have hearing reference, leaving him in a chosen state of mind almost hypnotic.
In “Nuovi Pianeti” the main part is supported by a recording of basses and cellos accords, in the low register, read backward. In this evocative listening are gradually overlapped other sounds, both synthesized and electronic, with interventions by pizzicato strings and orchestral sections they also overturned. This symphony of vibrations very effectively sums up the mystery surrounding new and important discoveries in the universe. For the record, we must not forget the great media attraction and global sensation for the human landing on the moon that took place in those years. Also, the other titles that relate to known and unknown Futuristic Space are composed in the same musical perspective, but compositional concepts always diversified and original. A separate discussion is that of “Extraterrestre” in which we bring a different musical theme in which we have no more to do with purely aesthetic feelings, but it deals with a possible form of life out of our human conception. Despite its brevity, compared to the other tracks this musical discourse becomes more urgent, more pressing, as if to awaken, in our subconscious, a deep concern for an unknown civilization, or some horrific monsters, coming from intergalactic space. We have an acknowledgment of the international validity and musical actuality of Maestro Egisto Macchi in these original songs produced in 1972, also by the fact that his song “Modulo lunare” has been inserted in the soundtrack of the movie “Ocean’s Twelve”, produced in 2004 by Warner Bros, which has been so successful in the U.S. and around the world for the unique choice of music. For this and more, we say that M ° Egisto Macchi, in 1972, was really one of “The futurable”
Limited to 500 copies
Brand new, never played, sealed
- Matrix / Runout: HR-6079-CMT10034-A43664
- Mastering SID Code: IFPI LZ59
- Mould SID Code: IFPI AHK09
- Rights Society: S.I.A.E.