Lorenzo Fabrizi: "I completely agree with Adrian Younge. That liberty of sound exploration is one of the things that made Italian library and soundtrack music so attractive. Just think about the greatest Italian composers like Ennio Morricone, Armando Trovajoli, and Piero Piccioni, making the music for the great Italian arthouse cinema and at the same time composing the music for the low-budget b-movies, poliziesco, and erotic softcore movies.
These artists had the possibility to engage with so many different TV productions, and experiment and create the sound they wanted. Extraordinary musicians like Sandro Brugnolini or Cicci Santucci from the Italian Jazz scene became incredibly skilled in the use of electronic instruments and equipment. The continuous request for music to synchronize left them the possibility to literally write ‘a world of music.’
Also check out the avant-garde/experimental album by Franco Goldani from the early 70s, for example. It’s a stunning piece of 'dramatic' music that can be sampled in countless ways, or the mind-blowing hip-hop-like tunes played and arranged by I Marc 4 in the 1970s, like the killer grooves of 'Trama Nella Metropoli' and 'Ray Ban.'"
"We both dig and search for these rare and original Italian library recordings. So we combined the passion we have as ‘researchers’ with great opportunities to find, acquire, and work with obscure and unknown music."
—Lorenzo Fabrizi (co-founder of Sonor Music Editions, pictured above)
LF: "I think that experimentalism is the real benchmark of Italian library music creativity, in general. Writing this music on commission, the Italian composers had so much liberty and fun in composing background music. They were free to experiment with sounds and to get inspiration from the musical trends that were going on at the time.
The combination of these two elements is what made Italian library music so special and highly regarded in the world. Our heritage derives from this touch of genius: to experiment and create unusual and killer sounds that could work on images. Italian composers have been pure avant-gardists in adding music to films and television."
LF: "Having the opportunity of managing and administering I Marc 4’s music means a lot to us, too. All the library music collectors and fans that I know grew up listening to I Marc 4, and their songs are just legendary. Their music has been synchronized in films and it has been sampled numerous times, such as by Just Blaze."
Andrea Galtieri (co-founder of Sonor Music Editions): "Finding the tape was a stroke of luck! I had already found Paolo Ormi’s P.O.X. Sound Vol. 2 about twenty years ago. The songs were very similar to an RCA single ("Cocco Secco" b/w "No No No") and the session had to be the same. I searched for it for years and years with no great results, until a seller put the tape up for sale. Nobody knew him—I was sure of it and it was an epic moment! I took it to Rome for the analog transfer. Together with Lorenzo we immediately realized that it was necessary to make the music known. That was so beautiful."
Lorenzo Fabrizi: "We have been doing this 'detective job' for about ten years since we started Sonor Music Editions. We both dig and search for these rare and original Italian library recordings, so we combined the passion we have as ‘researchers’ with great opportunities to find, acquire, and work with obscure and unknown music."
LF: "It’s insane! Oh No is an incredible and talented artist, We couldn’t believe our ears when we listened to the beats for the first time. We were stunned about the album— which is also going to be released on vinyl very soon, by the way."
LF: "When we started our activity with Sonor in 2013 there were few labels actively spreading Italian library and soundtrack music. So we like to think that we have actively contributed to that in the past years through the vinyl releases and now with this new, exciting adventure together with Tracklib."
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