Vincenzo Ramaglia, Brian Eno, Apparat, Rival Consoles
Vincenzo Ramaglia, Brian Eno, Apparat, Rival Consoles

Composer Vincenzo Ramaglia offers new song ‘La parole 7’ (Son Lux Remix)

Image credit: Martha Micali & Jess Nijjer

Unconventional musician Vincenzo Ramaglia shares ‘La parole 7’ (Son Lux Remix) under  PEM Records. Vincenzo experiments in the production of music that exploits and orchestrates musical sounds in real-time laced with elements of IDM, composed in analogue sequences. The ultimate centrality of his composition is experimentalism. 

Stream / Download: ‘La parole 7 (Son Lux Remix)’

‘La parole 7’ (Son Lux Remix) is like a ticking clock that has been set to end only in eternity, and consequently, it knows no end, but it contains a tentative beginning. The song is sublime in both the pace of musical notes and the arrangement of the notes and listeners are prompted to reconceptualise their understanding of musical sound, simultaneously getting a glimpse into the element of perpetuity created in the song. Read the full interview with Vincenzo Ramaglia below.

In which ways has experimentalism in your music evolved?

Essentially from the deepening of twentieth-century avant-garde techniques (orchestral and chamber stage) to the invention of something that I feel authentically personal, present, and new (electronic stage).

La parole 7 (Son Lux Remix) has a refined musical sound. What did you learn from this song?

I understood that even a small fragment of my music can inspire great artists like Son Lux on very intimate, engaging, transversal sound journeys.

And I’ve found that the more valuable artists are, the more they are stimulated by something experimental and personal (rather than by something commercial and easy).

This gives me confidence in the (not very simple) road I have taken and incentives to refine the sound of my next works.

If someone has never heard your music, which keywords would you personally use to describe your overall sound and style?

It’s difficult to answer because my music is on the crest of very different genres. But maybe experimental ambient abstract avant-garde contemporary electronic IDM…I usually refer to my work as “Popular Experimental Music”.

Tell us about yourself. How did you get into music?

In pre-adolescence, I was always mesmerized by hands running fast on piano keys, so I decided, fully supported by my family, to study music.

In adolescence, I began to sketch ideas on a staff, and I realized that I didn’t want to be a pianist, but a composer. And I concluded a ten-year course of study of composition at the Santa Cecilia Conservatory in Rome. Finally came the desire to explore electronics outside strictly academic boundaries.

When you compose and produce tracks, do you make music for yourself or do you make it with others in mind?

I make it by imagining listeners somewhat similar to me (but not quite).

Comfort the disturbed or disturb the comfortable – what is your aim with your music?

Exactly the synthesis of these two elements (but a little biased towards the first).

Has your arsenal of equipment changed much since you first started?

Rather than change, it has been enriched with new elements. Now, thankfully, I have a recording studio that contains them all.

Three favorite tracks of all time?

The first three that come to mind:

– “Für Alina” by Arvo Pärt

– “Everything In Its Right Place” by Radiohead

– “The Rite of Spring” by Stravinsky 

What inspires you outside of music?

Art, literature, philosophy, cinema, TV series, nature, travel, motels, roads that cross nothing, deserts, faces…

What is the best or strangest reaction you’ve had to your music this far?

A perfumer got inspired by ‘La parole 7’ (from my album “La parole”), transformed it into a perfume (“Parabole”) and sent it to me as a gift.

What, in your opinion would be the perfect genre fusion?

The perfect genre fusion is the overcoming of the concept of genre itself.

Do you consider the Internet and social media as fundamental in building a career in music today, and what is your personal relationship with the new technology at hand?

Surely today the socials are very important for spreading one’s art. I mainly use them for this. But for solitary people like me, they can become an excuse not to confront a live audience.

What can we expect from you in the near future? Any upcoming projects or releases in the pipeline that you would like to tell us about?

A new electronic music album, of course! But first I have to tell myself.

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