Experimental electronic IDM musician Vincenzo Ramaglia has shared his latest single, ‘La parole 5’ (feat. Laure Le Prunenec) via PEM Records. The track premiered via XS Noize and is lifted from his upcoming album La parole, to be released 24 January, which is entirely conceived via an electronic setup without a computer. Previous track ‘La parole 7’ has garnered support from Son Of Marketing and Vents Magazine. The album features the impressive vocals of Laure Le Prunenec who is the singer of many known and interesting projects, including worldwide acclaimed French band Igorrr (supporter of Ministry on their 2018 North American tour). Before his electronic breakthrough, the Italian composer won the TIM (Tournoi International de Musique) for orchestral work. Ramaglia’s soundtrack also accompanied John Turturro for the award-winning Ore 2: calma piatta (Mikado Film). However, the main web and paper music magazines of the Italian scene – including Ondarock, Rockerilla, Blow Up, Sentireascoltare, and Rumore – showed great appreciation first of all for his experimental albums.
SINGLE RELEASE DATE: 13 December
ALBUM RELEASE DATE: 24 January
LABEL: PEM Records
Watch: ‘La parole 5’ (feat. Laure Le Prunenec)
‘La Parole 5’ on Spotify – Apple Music
To achieve his highly experimental style, Vincenzo Ramaglia receives inspiration from a wide variety of artists including Autechre, Björk, Arvo Pärt and Radiohead. Elements of Cocteau Twins’ Elizabeth Frazer emerge when the listener focuses on the lyrics as Laure Le Prunenec uses ‘real-time invented language’, creating words that are already music before they are even spoken. The resulting sound is complex and should be recognised as such with strong parallels drawing to Aphex Twin meeting Diamanda Galas while lighter aspects of Squarepusher, Venetian Snares and Alva Noto entering into the mix.
Vincenzo Ramaglia studied piano, graduated in Composition at the Santa Cecilia Conservatory in Rome and also completed his university studies in Modern Literature with a thesis on Twentieth-Century Chamber Musical Theatre. Following his studies, Ramaglia became the director of the Griffith Academy of Cinema and Television in Rome. Teacher and musicologist, one would predominantly find Ramaglia in the world of academia, with his students, when not absorbed in his music. He also often collaborates with teachers and students of his film school, as a director and editor of his own music videos. La parole was mixed by Elefante Bianco (Massimo Ruscitto, Raimondo Mosci) and mastered by Reference Studio (Fabrizio De Carolis) – two Roman excellences that boast many collaborations with artists such as Ennio Morricone – while Ramaglia took the lead with composition and production. In the past, his work has included collaborations with exponents of the music avant-garde, such as Massimo Ceccarelli, a virtuoso of contemporary double-bass, and Renato Ciunfrini, a multi-instrumental improviser.
‘La parole 5’ opens with an impressive celestial chorale which is enhanced by the sound reverberating around the track. To truly appreciate the single, high-quality speakers, a darkened room and isolation is required. However, the casual listener is encouraged to venture into the avant-garde dark ethereal waves of sound. Creating what Vincenzo Ramaglia himself likes to call Popular Experimental Music, there is a complexity to his work with the overlays of vocal improvisation.
“I’m not a big lover of ‘four-on-the-floor’, so when I embraced the electronics I immersed myself in more restless, schizophrenic, elusive contemporary rhythms. IDM, drill’n’bass, breakcore, glitch… Squarepusher, Venetian Snares, Autechre, Alva Noto, Ryoji Ikeda… All artists who do a great deskwork of editing to produce their phantasmagoric and always changing sound textures, a work that is often masterly and of great impact for me. The challenge is: to recreate with my hands that same ‘organized restlessness’, but in an impromptu way, without editing, treating the machines as a musical instrument. Without a computer. However there is also a hard work of composition: improvisation moves inside an intricate maze of analogue sequences, composed on the machines as on a pentagram, almost in a thoughtful orchestral counterpoint”.
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