In Conversation 






IN CONVERSATION w/ Giulio Aldinucci (2020)


Congratulations on Music From Organ, this is your first release on the label, but also the labels first release. What made npm stand out for you to release on?

I really like it when somebody gets in touch with me and we start speaking about a project together. I’m always happy to meet new people, new music enthusiasts. The first thing for me, is that there has to be a sympathetic connection. When I speak with someone and notice we share something, this is very important for me to start a project together and it can be: music, video, art etc. For sure there was research and what I found I was happy with. I was curious when we shared music enthusiasm and this is what made me choose npm.


It’s clear you have a very visible love for ambient/experimental music. What drew you to produce this style?

It was a long process because my music taste is very eclectic, I really listen to everything. My house is full of records, from: early music, classical music of course, techno and even punk. I have always been very fascinated by sound and how you can create and manipulate sound. I remember when I was a kid, my father had an old gramophone. He used to own a few vacuum tube radios and what really fascinated me the most, were all these extra noises and frequencies. I used to have a lot of fun tuning this very old radio from the 30s. I was probably 8/9 maybe, when I was doing this. Then when I started to listen to music, I really fell in love with everything that sounds unconventional and that sounded futuristic. In a way it was natural to arrive at this style of music, but it was a slow process.





What is the meaning behind each name of the track, each starting with ‘Music From Organ, movement in…’

The movements of a composition are usually marked with a number, as they are performed in succession. The compositions on this EP are four and I consider them "seeds" and "sections" of the EP concept. So "movement" here is used in a metaphoric way; they are self-contained parts of a whole. They can be played either: following the EP tracklist, separately, or by the listeners choice. The "movements" here are also not numbered because these compositions are part of an open set that could be expanded in the future. I also took into account the environment when composing the music. For example, one of the recordings was in a one thousand year old church, in the countryside of Siena and the sound of the organ was stunning there. The colours around the church whilst playing on this organ were beautiful and this really helped with the naming of the tracks.


How did the process of the EP come about?

I tend to compose music freely. I use a lot of sound material when starting a project, from a field recording to recordings of instruments, like I did with ‘Music From Organ’. I also modify samples I hear, from anything I pick up, so I’m very free and ‘Music From Organ’ started this way. I wasn’t thinking about an album or an EP, I just started from this sound material, then I took more recordings and it started to shape and everything felt very natural. When I see that something can be expanded, it can stay worked together with other stuff this way, the beat of an album or an EP. Music From Organ was a similar path.


Farron joins the EP with a very contrasting remix, what are your thoughts on having this approach joined with your style?

I'm always very curious to listen and to discover how other artists use my musical material, in order to create something that  "belongs" to them, the more the remixers background is far from mine, the more I'm intrigued.