Track By Track: Sacrobosco discusses his new album, IVXVI
Italian musician Giacomo Giunchedi, based in Bologna, approaches electronics for the first time in 2014 with the electrowave trio Torakiki. Sacrobosco was born in 2020, treasuring the live shows collected over time (Ypsigrock, Gondar, NIM, Fruit Exhibition, in Italy, and Mein Haus Am See and Barkett in Berlin). The new album, IVXVI, is the first of two releases that started the collaboration with the independent well known Italian label Trovarobato. The two new albums are characterized by a greater use of analogue instrumentation and greater freedom in terms of production. Giunchedi is also a member of the techno-ambient duo sea: side. In this exclusive track by track, Sacrobosco takes us through his third release one song at a time.
1. ‘Pearl’
‘Pearl’ begins with a guitar sample taken from Pharoah Sanders’ ‘Harvest Time,’ to evolve through a crescendo with shoegaze and ambient drone nuances, dominated by distorted guitars and analog synths recorded through tube preamplifiers. As for some other IVXVI tracks, this one was born playing live on a sampler.
2. ‘Anytime’
‘Anytime’ concentrates a sequence of hybrid elements in two minutes, dominated by analog sounds and the presence of guitar lines. It was the first one to be released and is supported by a video created in collaboration with Susana Ljuljanovic and Ivan Pjevcevic.
3. ‘Illish’
‘Illish’ is one of the first tracks I recorded for the album. It brings me back to the late lockdown period, in winter 2020/21, spent with my girlfriend playing and composing. The video I created for the track was created using home videos from my childhood years, mixed with casual material shooted with my mobile. The title is actually the anagram of the words Infinite Lines Last Illimited Seconds Of Hyperconnectivity.
4. ‘On Four Walls’
‘On Four Walls’ incorporates two acoustic guitar samples, obtained by reworking a recording made via smartphone. It sounds to me as the more conventional IDM track on IVXVI. As in many other tracks, the saturation you can hear is almost completely analogic.
5. ‘Aerials’
‘Aerials’ is built on looped electric guitar samples and some vocal samples both taken from an interview with Suzanne Vega and made in the studio. I found this track exciting to play live, maybe because, as ‘Pearl,’ the track was born directly playing with my devices, losing myself in the research of groovy patterns.
6. ‘Cauto’
‘Cauto’ reveals gothic-urban atmospheres, a bit Tim Burton’s style. There’s something in this track that brings me back to my teenage years, spent listening to albums like Adore of Smashing Pumpkins. I think there’s a lot of that kind of vibe.
7. ‘Faint’
The idea of saturation that I had in mind for ‘Faint’ plays a key-role in the structure of the track. The voices are samples taken from Beyoncé’s ‘Halo,’ which I transformed into a scream coming from a sort of abysmal dimension.
7. ‘Hashimoto’
‘Hashimoto’ is built up on an impalpable, fragile yet continuously regenerating rhythm through spiral trajectories. Is the longest track of the album as the one which had the most immediate process of creation, compared to the others.
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