“The need to accept myself, after so many years spent working for other people’s music. I needed to lock myself in my magic box at the Labotron in Bologna and do it. Finding myself at 50 and working As a musician, being able to experiment in an infinite labyrinth of sounds and give importance to that word is one of the greatest fortunes that can happen.” Speaking about his new challenge at “La Ragione”, Mirco Mariani, a multi-instrumentalist singer-songwriter who, after his international experience with Extraliscio – with whom he also participated in the 2021 Sanremo Festival – decided to embark on a new solo. adventure, from the beating heart of his activity: the Labotron, a unique space of its kind in which the artist has gathered over time various musical instruments, dozens of synthesizers, tubular bells, a vibraphone, a celesta and one of the most important European mellotron collections.
The artist’s new challenge took shape in the project ‘Il Parcheggiatore di submersibles’ which will see the publication of several songs two by two during the year, thus recalling the spirit of the old 45s (the first two songs ‘I love life’ and ‘Lets slow dance’ are already out). “The idea was born when I realized that for my daughters, there was no longer a record conceived as an album. So, instead of starting from an idea and connecting different songs into a single universe – like this is done with traditional albums – I chose to think of the 45s as we did a few years ago, to rediscover the pleasure of savoring slowly. Today, everything is going at hellish speed, I try to hold on. as informed as I can, because not to do so would be to live outside of time, but I prefer to stay away from the obsession with the new and try, in my own way, to cultivate a small garden.
Among the different musical languages experimented by Mariani, there is also that of film music, to which he gave a personal touch to the point of inventing a sort of subgenre: “I had the chance to work with Pupi Avati. On this occasion, I invented instant music, like a photographic click we see a scene and everything must happen at that moment: we cannot reconstruct it with the computer. that moment with the instruments all connected.”
It’s impossible not to ask him, who bought his first PC at the age of 54, what he thinks of artificial intelligence: “I don’t want to hold back on research, because it could lead to things that I don’t I can’t imagine from time to time it might make me regret it.” what I said. But I want to save this “panda” that is music played with the fingers. My instruments, with their smell, their wear, have all had a previous life, longer than mine and each of them has stories that each tells me in its own way like a cat: it doesn’t have the words, but he makes it clear what he wants.