Demian Dorelli has just released a new album called “A Romance of Many Dimensions'' on Ponderosa Music Records and has been garnering a lot of attention, as well as a unique piece from Nick Drake's album “Pink Moon.'' It's a welcome addition to his most interesting body of work, including Take. .
Music News caught up with him to learn more about this young classical/pop artist.
Demian is an unusual name. Where does it come from, what part of London did you grow up in and are your Italian roots important to you?
Yes, spelling always sparks conversation too.
I learned that my parents were influenced by Hermann Hesse's novel “Demian,'' which has the same name and spelling. This novel is about a character named Emile Sinclair and his journey of self-discovery from boyhood to adulthood, guided by older friends from school. , Max Demian!
Interestingly, I don't think this name is the English or Italian version, because I'm a combination of both.
I grew up in an area called Fulham in south-west London, just by the River Thames. During the first 18 years of my life, I didn't speak much Italian, but as I visited my nonna in Rome, Zio e Zia, I slowly but surely learned the Italian language and the Italian life that comes with it. I was absorbing the atmosphere. When I was little, I remember pretending to speak Italian and making the words by moving my shoulders and hands a lot.
When I learned to speak Italian, I felt that a certain side of my personality came out more than when I spoke in English. It's interesting how language can do that and open the door to different aspects of a person's personality. My Italian roots definitely give me an identity that I'm proud of, so I'm so happy to be able to interact with everyone every time I visit.
Your first solo album project was a piano rendition of Nick Drake's “Pink Moon.'' It's obviously an adventurous idea, but a very noble one to implement. Why was it so important for you to start your musical journey this way?
It was an idea that I thought was really interesting and I don't think anyone had ever done it before, so I was really excited about it. I was very impressed with the idea of recreating an entire album dedicated to a particular musician and songwriter. I also felt that Nick Drake himself did not yet realize how much his music would ultimately be loved and appreciated around the world. That gave me even more drive and reason to commit to this project, despite my misgivings about my “first release as a solo artist.” Not only Drake's music, but his entire story and predicament seemed to fit very well with my situation. It was a great challenge and helped me get even closer to what Drake is all about.
You have started a collaboration with Alberto Fabrice, who is known for his work with Ludovico Einaudi. Why was it important to you to include him?
I can't express how important it was to have Alberto as a producer. Artists are notorious for not completing projects, getting caught up in the minutiae of their music, or losing sight of their dreams along the way. He has a great way of keeping everything on track and magically making sure we get it done.
Alberto also has a huge musical encyclopedia in his head, full of exciting ideas for sounds. Although he is careful in how he interacts with people, he is never afraid to convey his thoughts. It can be very important in the creative process. I think it's very important to hear good and honest feedback from people you trust. I feel very lucky to have such a reliable friend accompany me on this journey.
Following last year's “My Window,” you recently released a new album, “A Romance Of Many Dimensions.” What was the inspiration behind this?
It all started when I was attending a presentation by scientists at CERN in Switzerland. I was accompanying my wife Rosina, who had been invited there. I was fascinated by their humble attempt to explain how the universe works and how little we actually know despite all our efforts.
I knew this was a concept that could be connected to music in some way, but I didn't know how to express it at the time.
At the same meeting, Rosina had asked if what they were trying to explain was similar to the ideas presented in the book Flatland.
I had never heard of it but ordered a copy to read as soon as I got back to the UK. This was it!
Written in 1884, this book is certainly old in some respects, but it provides a very good idea of what it's like to live in a two-dimensional world and then be presented with a “three-dimensional” existence. There was also the question of how they were able to create an emotional story while using professional descriptions. .
Inspired by what I read, a musical journey closer to the book's subtitle, “A Romance of Many Dimensions,” taking more emotional elements as the lead rather than focusing on the technical concepts being explained. and tried to encourage the mood.
Other dimensions exist, but we may not be explicitly aware of them. For me, the space created by music is an example of this. So I wanted to create an unexpected space in some way, but like I said before, not in a conceptual or technical way, but in a more romantic way.
I would like to talk about some of the songs on the album if possible. I found the great “Universal Color Bill” to be brutally honest and soul-searching music. There, the spaces between say as much as the notes. It's like classical music meets Radiohead or Pink Floyd. Is that outlandish?
Well, you mentioned that there are two bands that I love, so it's very possible. This track definitely has a special space and mood.
I always enjoy the idea of absorbing different music and re-expressing it in different and subtle ways when creating my own work. It's not a conscious effort, but the idea of capturing different perspectives of something is what art in its various forms is all about.
“The King’s Eye” is a perfect collaboration between the two instruments chosen to accompany your piano playing on the record: cello and French horn. Was this planned from the beginning, artistic intuition, or luck :)?
I think once we decided that the other two instruments were the cello and the French horn, it was clear that there could be at least one moment where we played together without the piano. The three of us really like the colors from the artist's palette, so it was always used in different ways and combinations throughout the record, until we worked on a track called The Kings Eyes, when we decided to simply use Cello & Horn. The regal idea of the king played by the horns, supported by the cello's down-to-earth responses, was really effective in setting the scene for this piece.
Demian, if you could perform your latest album anywhere in the world, which stage would you choose and why?
That's a difficult question because I don't know yet.
My dream is to have the opportunity to perform in different environments to discover where the most charismatic places and atmospheres are, but in a magical live experience, the people who are the listeners also have a great experience. Don't forget that you also have a part. unpredictable.
Ask me again in a few years!
Do you want your audience to be prepared and knowledgeable about your body of work when you perform, or are you happy to surprise them and gain their appreciation?
You have to say both because each will get a different reaction. I may be used to surprising audiences, but I do feel a little nervous beforehand about what will happen if it's not what they expected.
It's fun to open the door to new music to surprised listeners, and it's even more fun when people who don't know Nick Drake's music hear my concert and want to learn more about him. Is good.
What plans do you have for promoting and performing your new album this year?
Planning is currently underway, but I'll be back to writing my next project soon.
Stay tuned to my social media for updates.
If you could wave Harry Potter's wand, who would you most like to collaborate with next from the worlds of classical, jazz, and pop?
Wow, there are so many choices…!
In the case of classical music, I think it would be orchestral. In Morricone's case, it might be because of the emotional melody.
In the world of jazz, it may be Miles Davis who helps push the boundaries, but in reality, if you want his lyrical sound, you have to choose saxophonist Dexter Gordon. maybe. His two completely different options.
If you hadn't mentioned Radiohead, I might have gone with them because they're so creative, but instead… It's not really pop, but I've been listening to a lot of Patrick Watson lately, and his selection I love some of it, and it's certainly an interesting creative process as well.
Check out Demian's social pages for more information. He will perform at Teatro Triennale Milano on May 19th as part of the Piano City Milano Festival.
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