It was quite a decision from my guts and there were a few currents that took me there. I found myself listening back to the music I listened to when I was a teenager, which we all do sometimes. But this time I was struck by my metal phase. I was fascinated by the harmonic concept of the genre, the fan culture, the link to medieval aesthetics, and how multi-layered the music can be, emotionally speaking.
At the same time, I was getting into my new 12-string guitar and I wrote a lot of melodies on that. I learned classical guitar as a teenager, which means you often play music that is a couple of hundred years old and I play this very small repertoire I have on a daily basis.
I guess all of these influences came together, combined with my approach to stick with a certain harmonic concept and rhythm. That carved out the sound of this album.
In the writing process of Tutto Passa, I was also listening to jazz giants like Wayne Shorter, John Coltrane, Bill Evans, McCoy Tyner… While studying their work, writing melodies and such, I got recommendations from friends from Italy on what I should listen to and what they thought my music sounded like.
It really hit me because I imagined how those Italian composers might have listened to the same jazz music as I did... So, from there, I actually tried to enhance that and began to listen to those Italian composers. That changed the entire approach to producing Soundscapes Vol. 1.
It may not always sound like it, but to me, my music is very beat-centered. I love to play drums and used to listen to beats and club music a lot. It definitely still has a huge impact on my music and I always imagine the drums as a hip-hop element.
"To this day, the art of sampling changed the way I think about music. As a music producer, my work is all around a DAW and its tools. (...) Lately, I often sample and loop myself to reuse ideas, patterns, or melodies I write."
—Marvin Horsch a.k.a. Gianni Brezzo (Photo by Robert Winter)
This record is all about guitars, the flute, and their melodies. I had a ton of fun recording numerous guitars in different ways and playing with how the melodies of the brass instruments are wrapped around them. With Tracklib's multitrack option, I think producers will find many bits they can loop or flip to a whole other mood. Because each track has its own language and aesthetic.
I am very blessed to have so many talented and amazing musicians on this record. Conni Trieder is an incredible flute player and has shaped the sound of the album with her virtuoso sound. Drummer, percussionist, and sound engineer Simon Popp recorded the drums for me and has been one of the most professional musicians I have worked with so far.
There are also appearances by my dear friend and longtime collaborator Johanna Klein who plays the alto saxophone, Jànos Löber on flügelhorn & trumpet, Eva Svederski on Rhodes and keys, and Reinaldo Ocando on the vibraphone.
When I explored the art of sampling, that changed the way I think about music to this day. As a music producer, my work is all around a DAW and its tools. I always took advantage of sampling and it's incorporated into almost all of the songs I write. Lately, I often sample and loop myself to reuse ideas, patterns, or melodies I write.
The act of sampling has changed the way we make and listen to music forever. Sampling is the biggest and most important tool of pop music and everything that's linked to that. But we—as producers and creators as well as consumers—have often disregarded ownership and the exploitative part of it. With platforms like Tracklib, it's definitely a paradigm shift and I hope the act of sampling will continue to be more democratic and fairer now.
Regarding my favorite songs, I would name the following besides music by bayamo., Bluestaeb, Melodiesinfonie, Asé, and Olivier St. Louis that's not part of the Tracklib catalog—yet?
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