One you should know: ATŌMI
As we’re approaching the release date of JIK005 that will welcome the new project “ARMØNIA” from ATŌMI (September 17, 2020), we’re pleased to introduce the artist first and his views on the music creation process.
“I approach music by letting my emotions speak.”
Hi Lorenzo, first things first, can you tell us a bit more about yourself?
Hello! What can I say? I’m a curious child and a creative adult, in a process of discovery of himself. I love Human and Nature expression that goes beyond words and language through the use of symbols and patterns. But don’t get me wrong, I also love poetry and writing. I strongly believe that everything is connected and lots can be understood through frequencies, vibrations, and energy.
Can you share some artists that inspire you the most?
We’re living in a present where everything is like it has a color booster put on top, also you can have anything you want whenever you prefer. For that reason, I would answer that what I’m currently looking for is “less is more”. Here a small list of great artists that inspire me in different ways.
Musically: Alessandro Cortini, Caterina Barbieri, Thom Yorke, Amon Tobin, Ryuichi Sakamoto, Ben Frost, Tim Hecker, Access to Arasaka and for those who are used to melt audio and visual: Ryoichi Kurokawa, Alva Noto, Ryoji Ikeda, Tundra, 404.zero, Robert Henke and Nonotak.
Visually: Serjan Burlak, Ruben Fro, Damien Jalet, Olafur Eliasson, Ouchhh, Refik Anadol, Shohei Fujimoto, Benjamin Bardou, Joanie Lemercier, Fuse* and Sage Jenson.
I take a lot of inspiration also by painters like William Turner, Hieronymus Bosch, and Salvador Dali.
Can you elaborate on the concept behind your new album? How did you get this idea?
What I started with the composition of this first EP is an act of research, to synthesize the experiences of all my lives. I approached the concept of frequencies through various readings on Pythagoras and the post-Pythagoreans, Galileo, Kepler, etc.. giving more value to intuition and emotions than to the scientific parts. Later, by having this knowledge processed by my subconscious, thanks to what I learned from the readings by Alejandro Jodorowsky and Giordano Bruno, I established a link between symbols of different cultures and philosophies. My intention is to cross the wall of speech and consciousness, to dialogue directly with our subconscious and emotional part.
And what about the tracks, can you tell us a bit more about them?
Starting from the titles my idea is to bring to people a different meaning of the path we called life, compared to the one gave us by society. Almost every track has been composed starting from a frequency and a tuning obtained by the orbit of a solar system planet, three of which are directly related to chakras and all driven by strong emotions. Then I started to realize how all these things are intertwined with other philosophies, cultures, and credo.
Each track became a folder containing elements from the oriental philosophy to the Pythagorean and occidental one. My intent is pretty far from being a guru or an upcoming enlightened scientist, but it’s more just to share with people what I’ve learned and discovered in my path since now.
How would you qualify your style, your approach to making music?
I see music as painting, like architecture or a simple beautiful mathematical formula and feel it like the simple yet so complicated beauty of nature, fully understandable only in our subconscious. I love to reach the edge through the extremes, like Yin and Yang, sometimes melting them to explore all the colors in between, some others keeping them separated and in contrast. I approach music by letting my emotions speak.
I know you put a lot of thoughts into the cover art. Can you tell us the story behind it?
I saw the beautiful compositions and researches made by Serjan Burlak aka Biogenic and I instantly fell in love with them! The cover of ARMØNIA embodies all the aesthetic and conceptual elements of my project. Its minimal aesthetic, geometric yet so organic, speaks of an evolutionary and ascending future, represented by an embryo inscribed in the golden spiral, that carries in itself all the genes of a new future.
Your project also comes with video clips. Was it part of the plan since the genesis or did that come later?
Well yes, It has been a little dream since the beginning. But just thanks to Chiara De Maria, Stefano Benatti, Alessandra Leone, Carlo Fanchini, and Matteo Gatti it came to life. I decided to ask them to collaborate with the aim of letting express their unique style and approach, applying their latest researches and visions. The incredible thing is that even if the aesthetic and approach are completely different from each other, there’s a strong connection between the five videos. You will see!
Can you tell us more about your studio and your workflow?
I have a small studio in a small town in Italy, called PLANETARIUM, packed with all my instruments and freak toys. I approach the workflow as a language, it helps me to change my mind depending on the goal and situation. I prefer to use hardware, mainly analog synths, modules, and effects, because of the characteristic sound and the limits which make them so unique. What I think is that keep consciousness of my limits is the only way of being limitless.
This approach allows me to explore the boundaries of sound and hardware, always find new ways to reach the goal. It also gave me the opportunity to understand what I’m looking for, step by step, without being carried away from the flood of the latest software updates, versions, or bundles. Once a month I welcome all my Patreon supporters in my studio, sharing a bit of time together and all the new things I’m working on.
Would say that your music is meant to be listened and studied quietly at home, or to be performed live?
I guess both, but also underwater and on the top of a mountain would be interesting! My goal has always been doing AV live shows as well as interactive installations. With the release of the debut EP I’ll present a performance live that will alternate moments of ambient/drone improvisation, where I’ll recreate organic visceral soundscapes plunged into darkness, and the five EP tracks with the projection of the videos made by the visual artists.
Do you already have an idea of your future projects in mind?
Yes, while composing soundtracks for silent movies with the great multi-instrumentalist Enrico Pasini, waiting to play them live again soon, I’m looking forward to composing the soundtrack for the first docu-film directed by Chiara De Maria. Also, I’m designing an interacting installation with the engineer Marco Piccinini and the visual artist Samuele Son.
Last but not least, the debut Ep “ARMØNIA” will be part of a trilogy.
Having already composed the second Ep and looking forward to finishing the third, I can only say that the trilogy will be a bidirectional journey through the material and immaterial and that all the Eps will be slightly different from each other.