With Cristian Marras & Mokadelic

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You were able to donate an unprecedented poetic vision, often even nostalgic, to the dark environments of a neighborhood as Scampia: you have just done your job, or you have grasped something more elusive to the masses?

The music composition began after viewing the final editing of the first episode. In those images, reflected in those so dense scenarios, we took a twilight and icy nature. We swayed by those feelings and that shot which, whilst this was only the initial part of the whole project, has allowed us to identify the musical setting, then declined throughout the series through our personal sound vision.
In parallel with the directors Stefano Sollima, Francesca Comencini and Claudio Cupellini we have created a very constructive synergy, and we have refined together the musical side because of the emotional universe of the characters, who lived the evolution of their stories in those places.

Pros and Cons in making emotionally immersive some reality like those of ACAB or Gomorrah:

We find no cons. From our point of view, making emotionally engaging a scene through the fusion of music and images represents the noblest aspect of the composition. Even more, the prospect of these two major projects, created to tell never explored viewpoints, intrigued us. About ACAB, the controversial reality of the cops from their visual, for Gomorrah – The series, an extreme dimension with hyper-realistic impression, returning both in musical terms.

Do you think there is a category of ways and/or people able to be defined in good conscience by the term “bastard”?

Someone, long before us, said “to define is to limit”. Watching the first season of Gomorrah – The series, and dwelling on its end, you may feel convinced that this category, so defined, exists and lives in the characters, especially if we consider the obscure parables of their lives and the revenges they put in place for their own exclusive advantage.


“If you take LSD, how you feel depends entirely on who you are. Our music can hurl yourself in the screaming horror or throw you in the delirious ecstasy” — quote Roger Waters: what are the “chords” you expect to strike with your sound?

Introspection, emotional growth, the quickening of sound in geometric and abstract spaces, liquefaction, the pneumatic fullness and emptiness… Here is the delirium mentioned by Waters, net of any hallucinogen.

A band without the “main” member: a precise choice? Do you ever have the feeling that something is missing, especially in the live stage?

Since from the beginning, it was a conscious choice and we have never experienced the “non-presence” of a singer as a deficiency. Instrumental music is something we have tried and kept with great determination. Then we walked the path of the sound and research, also passing through the noise and experimenting with the image language together with our video maker Andrea Cocchi. When there is a singer and roles, the balance, through a view like this, are different, sound and stage presence are not set for the intelligibility of the vocals and visibility of the singer. However, yes, sometimes it was a problem, more for others than for us. We remember with great fondness various anecdotes related to the first soundcheck and the trial and tribulations to retrieve the bare essentials to do a concert with video projections.
We don’t exclude that in the future there may be some experiments in this direction, the voice is a beautiful instrument, but currently our nature is instrumental.

A few words on your method of composition for the soundtracks:

Up to now, we have tackled the process of soundtrack composition in a completely different way, for every movie experience, a very challenging aspect for us. In As God commands, it began with the reading of the book by Niccolò Ammaniti, at a previous step to the shooting. From here, we took inspiration for the making of four instrumental suites, arranged on the psychological profiles of the main characters, which formed the supporting structure of the entire soundtrack, which is used by the director on the set to inspire the actors. In Gomorrah – The series the process went in opposite direction: we examined the images, worked on the psychology of the characters, before composing a range of themes letting ourselves be guided by the emotional experience. In Pulce non c’è the work took place in parallel to the set and to editing.


“Post-neo-psychedelic-rock-distortion-etc.”… Is it still so useful trying to define certain music genres today?

Assigning labels can be helpful to describe the musical reality. Many times, however, it may not be sufficient and even limiting. Today, the means and technology allow each musician to experiment and expand their expressive ability, thus making useless the label assignment especially at the beginning of his career. You should also make the genre labels more flexible.

Supposing you were given one of the most followed radio in Italy for a day, what would you broadcast — apart from your records?

I wish! It would be a great opportunity for us. Having to make a list and going in no particular order among the first records coming to our mind, we include: Motorpsycho, Ludovico Einaudi, Ennio Morricone, Mogwai, Massimo Volume, Godspeed You! Black Emperor, Joy Division…

Upcoming projects:

As for the live shows, we have been involved in a big theater project that will keep us very busy.
On the recording side, these days it is even released in stores the soundtrack album of Gomorrah – The series along with the official video clip for the single Doomed to Live which direction has been curated by our own film makers Andrea Cocchi, and we are working alongside on our own self-produced album … We’re working on it for so long, every choice is particularly weighted.




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