Track By Track: Healing Force Project
Sonic adventurer Antonio Marini talks us through his recent opus.
For nearly a decade now, Italian artist Antonio Marini has been on a sonic adventur aboard a craft known as Healing Force Project. Far above the planet, away from quotidian distractions, he has calmly focused on a spiritual and musical mission.
On recent album ‘Drifted Entities (Vol. 1)’ he assimilates, deconstructs and reassembles jazz, dub, funk, ambient, experimental, IDM depositing the debris into space, where they float weightlessly and formlessly.
In the wake of the album’s release, we asked him to unpack the situations, inspirations, moods and feelings that surrounded the writing and production of each track. Here’s how Drifted Entities came to be…
It happens at times that I casually listen to a song of any genre, in which I sense sounds or rhythmic elements that trigger a spark in me. I suddenly get the urge to express through music my emotions and personal interpretation of those impressions. In one of those finds, I caught the sound of an organ Hammond B3 and decided to review and modulate it on a more experimental timbre. I put this sample at the start of ‘Tiny Germs’, together with a series of trumpet riffs and a dub groove, which are in a range that was unknown to me until now: Blues, but in an electronic context. I liked the idea of assembling situations that on one hand were dark and psychedelic, but on the other were acoustic and with a soul of their own. Diverse, but still going hand-in- hand.
I wanted to carry over the blues feel of the previous track, holding on to this mood in the second one; setting the pace with a slow bass line, throbbing dub, with the addition of an electric piano and the consistency of the organ. The very same title was born from the use of this upbeat rhythmic pattern. I created ‘Upbeat Damage’ instinctively, working mainly on the structure and bringing together a patchwork of electro-acoustic elements. I was not aware of the outcome, just focusing on the collage of its components.
‘Everything is Frequency’
I’ve always been fascinated by African musical texture, especially the percussion. On this track I used them right at the beginning, arranged with reverbs accompanied by fragments of brass, typical of the roots culture. When I developed this composition I was listening to a lot of Bill Laswell, who influenced the baseline timbre. I also focused on the dynamic of the snare, not excessively high, trying to keep it steady. I imagined being driven by a sort of mantra, both for the arrangements, and the way I was conceiving the piece as a whole.
The frequent changes in tempos and rhythms in jazz have always had a big impact on the way I work. I wanted to reflect this aspect on ‘Double Orbit’: restless drums, hi hats that stand out and subtle percussion samples. Overall there’s a distinctly electric atmosphere, almost krautrock like. This track was composed in a fairly short time, without many preconceptions, with the desire to continue on that path towards a project with smooth and organic flow.
The term Diorama has ancient origins and formally means looking through. I started to create a dark atmosphere with a drum ’n’ bass structure, even if not exactly in the most conventional arrangement, IE how it was traditionally preferred in the 90s. Then I added a layer of trumpet sounds, sometimes refined and some others raw and distorted. It felt like looking through different elements; unique and anarchic, which eventually come together and result into a technique that sounds decisive and intense.