Luca Sigurtà recently released Warm Glow, the latest surprising turn for this Italian musician. Drawing on triphop and ambient textures, Warm Glow fits snugly into Sigurtà’s oeuvre while showing off a very different aspect of his identity as a musician. He has been releasing music for over a decade now, perhaps most well known for Harshcore, his duo with Tommaso Clerico, and his psychedelic/drone group Luminance Ratio. In addition to these, he has released about a half dozen albums collaborating with many figures from across the Italian experimental scene, including Matteo Uggeri, Claudio Rocchetti, Fhieval, and the Meerkat collective. Sigurtà draws on field-recordings, CD and tape loops, analogical sources and various electronic junk as the raw material for his compositions, creating a captivating balance of texture and tension. These modest materials are impressively sculpted to produce powerful rhythms and soundscapes that uniquely convey aspects of modern life. (Joseph Sannicandro)
And stream/purchase Warm Glow at bandcamp
To get started, can you tell me about your latest release, Warm Glow?
I worked a lot on Warm Glow, and I’m satisfied because it reflects the kind of sound I was looking for. And I’m also really happy because the release of the album for an important international label as Monotype Records is the crowning of the intense work and care I put in this work. In this album I put a rhythmic and melodic component that was not in my previous releases and that let me experiment new sounds and enlarge the spectrum of sonority I used to play. In this sense Warm Glow is for sure an evolution of Bliss in the experimentation and in the research and was very important to me that it was a new chapter with new sounds. I was not interested and I avoided to reply what I have already done in my previous album.
I was just re-reading the review of Bliss I wrote, and wanted to pose a question to you based on that. Firstly, at the time you had mentioned an album called Decay, a kind of sister-record to Bliss. Did that ever happen, or did Warm Glow take its place?
When i chose the songs for Bliss, I realized I have a lot of material. Though some tracks were very dark, they were quite distant from the aesthetics that I had imagined for Bliss, so I enclosed that material in Decay, which I think is his evil brother. The album was produced in a limited edition for Karl Schmidt Verlag, label of Tom Smith of To Live and Shave in the LA. The artwork and the concept I chose was a tribute to Dana Plato aka Kimberly in the sitcom ‘Diff’rent Strokes’, She has always fascinated me in fact her personal story. a real decay…
I compared your aesthetic to arte povera, not necessarily in the sense of the group of artists that Germano Celant was referring to (that is, Arte Povera in capital letters), but to an aesthetic that I think is more widespread across Italian culture. I wrote: “Look to the tradition of Italian cooking, for instance, which creates rustic dishes composed of a few good ingredients that are in season, shifting the emphasis towards resourcefulness and refined technique.” You may of course disagree with this assessment. But I wonder, if you do agree with me, if you might say something more about this aesthetic underlying your work and your technique.
I agree with you, I often prefer to use gear not too “expensive” and I like to try to get a certain type of sound that normally you could achieve with expensive instrumentation, instead using “poor tools” or found ones (old cassette players or cd players, tape loops, etc.). I believe that the use of these tools makes the sounds more recognizable, while the canonical instrumentation tends (or risks) to standardize the sound. I prefer to use tape loops and analog sources compared to expensive laptop and synths. From the beginning I decided to walk this kind of way: when I started the lack of resources was a condition in which I found myself fighting to find the idea that allowed me to overcome that scarcity. Over the years instead, I decided to maintain that approach and that aesthetic as a choice of sound that deviates from the schemas of the most technical productions.
I’m also curious to hear about your relationship to traditional and popular culture, which I know might be a very abstract relationship, if there is one at all. I think Matteo [Uggeri] mentioned you sometime played popular/folk music linked with the Partigiani, for il 25 aprile, the anniversary of Italian liberation, is that right? If so, I would be interested to discuss this more.
I have a strange relationship with the Italian culture and popular music. On the one hand I have often taken the distance by far preferring a kind of more modern approach, on the other, however, have always been especially intrigued by the stories of World War II. My uncle Aldo was a partisan and more than once I asked him to tell anecdotes and lifestyle of that period.
In the past I worked on sound exhibition for Remembrance Day, working on old recordings and radio broadcasts.
Do you want to add anything about what you are working on currently, what might be in the works for the future?
Currently I’m working on my new release. I’m finishing to mix the tracks. as ‘warm glow’ Gianmaria Aprile recorded and produced the work. The sound of new release is more dark and obscure. I have great guests inside as G.W. Sok (founder of the legendary band ‘the Ex’), Black Sifichi, Father Murphy and others. About live shows, ’till june I’ll be on tour in Europe.
In the meantime, my other project Luminance Ratio almost has a new album out soon, I think in May. The new album is called honey ant dreaming for the English label alt.vinyl and we’ll be on tour on next Fall.
- jessy lanza – you never show your love
- emptyset – disperse
- chicklette – new tiger
- kerridge – fla5
- young magic – lucien
- secret boyfriend – the singing bile
- tarcar – eija
- lumisokea – nanissaanah