The electronic music producer signs an original soundtrack on which he leaves his mark without denying himself, at the end of a work of more than two years with the Italian director Giacomo Abruzzese.
It’s a film in which the music takes a prominent place, as sometimes happens: disco boy, the first feature film by Italian director Giacomo Abruzzese, hit theaters on Wednesday May 3. It recounts the escape of Aleksei, a young Belarusian who enlists in the Legion to then be sent to the Niger Delta. Dance plays a fundamental role in it, and it is therefore quite natural that the director turned to the Frenchman Vitalic to produce the soundtrack, which has also just been released on disc.
It is a work of more than two years which has just been completed for Vitalic. Two years of research, of compositions in constant contact with the director of disco boy, Giacomo Abruzzese, who could not imagine his film without the electronic music producer. He wanted, he said, music “vertical” : Pascal Arbez-Nicolassaid Vitalic, had to decode. “He has his own vocabulary, which was not easy for the making of music, he explains. According to Giacomo, I think vertical music is something that starts from the Earth and goes up to the sky. He took the music as a really, really important element of the film: it wasn’t sprinkling.”
“I’ve worked with directors who, in the end, didn’t really want music anymore. The music here really takes up space and Giacomo Abruzzese wanted that.”
There is dance music, trance, a very recognizable leg in Vitalic. There are also sticky, disturbing atmospheres, the jungle in perpetual motion. A real experience for Vitalic. “That’s what I learned to do because I didn’t know how to do it, precisely!continues the musician. I had very little opportunity to create atmospheres. You can’t make records only with frog noises! There, I had fun doing it. And it’s the first time!”
The image and the music work together, like a reminiscence of what thrilled the musician very early on. “My approach to electronic music began as a child with the cinema, he continues. I loved Giorgio Moroder when I was a kid. He did a lot of soundtracks and it was through soundtracks that I got into his music. There is also a great classic, Wendy Carlos for Clockwork Orange, which inspired me a lot. The films that I liked are the films where the soundtracks were really like actors in the film. It’s the case for Clockwork Orange. This is also the case for many films of the 1970s and 1980s, where we discovered the electronic music that entered the cinema. This soundtrack does not swear with the other discs of Vitalic, proof that he fed the film without denying himself.