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This triangle definitely pushed me in the way to look for a certain type of keyboard and sounds.

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Later I met Canterbury, whose organ, wah and fuzz sounds were one of my obsessions. And when speaking about influences, SKE indicates one keyboard player among the Canterbury school, who is Alan Gowen, as a primary influence. The abrupt entry of a Wurlitzer boogie and the comeback of voice gives way to the sax taking the stage. I discovered contemporay classical while being Yugen member — SKE says.

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I like to understand what the composing idea was about rather than listening to how they are played […] In this sense it is an infinite bucket of, even radicals, ideas that I like to know, and how they have been developed and maybe trying to incorporate them in those things I play.

Three chamber interludes, Scogli is divided in three parts and explore this reserve of composing ideas. The second opens, instead, with an unusual scale played by Maurizio Fasoli at piano. I gave myself a series. The series itself comes from a mathematical approach. Each note has a semitone more than the previous interval. So the first interval is a semitone, the second interval a tone, the third interval a tone and a half and so on. The result of this is a scale that does not have a tonal harmonic inclination.

The creative mechanism always strives to find a new musical pathway, rather than being an end in itself. Because, during this project preparation, I always gave my instinct priority when deciding what to keep and what to change during the last listening before the go.

It is all focused on enjoyment and not on mimicking consolidated styles. Beyond this it is very interesting because it is made of very simple ideas, with a polymetric approach that is definitely unusual.

And it works very well with that kind of music. From that point of view, I do not find any difference with a record that we can easily fit into rock progressive label. It is placed in the middle of the album representing a moment of highest standstill of the kinetic force expressed in the initial tracks. Contemporary classical is an infinite bucket of, even radical, ideas that I like to know, I like to know how they have been developed and maybe trying to incorporate them in those things I play Building complex music in the prog context involves facing the risk of becoming an intellectual high-brow; so, the daring musician decides whether to face, compromise or avoid the risk of music that is inaccessible on purpose.

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The question remains, is it possible to practice experimenting and to write accessible music at the same time? I think it is more alleged than real.

In reality, the ear gets used much more than we could imagine. I think it is more the result of a research process that takes into account the writing styles, which so few audiences tried to approach so far.

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But I would give time to this process. Frequently Paolo Botta points at how each music is the result of the moment in which the artist played it.

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In this sense, it makes very little sense to talk about accessibility or not of music in comparison to talking about how much a record reflects the time of the artist who made it. In my opinion this is working according to the 70s using tools that nobody had in the 70s. I am very lucky to adore this stuff, but in The preparation of this reprint lasted a couple of years before the release. SKE is now writing the tracks for a second solo album: I found myself wanting to take time to this project and to rediscover the magic I found during that time.

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In my opinion music first reflects people, but it is a daughter of that time. Music elicits personal memories. When I listen to certain music, it reminds me of places and events. And again about an upcoming album: And I did not like this. Instead, now I think I found an idea that stimulates me and gives me the limits. Limits play a key role for every creative output. This is the type of situation that is giving me stakes, they are useful both in terms of helping the mood, both in terms of writing music.

Putting stakes, which function as a fixed point from which to spring ideas — a mechanism kind of related with minimalist aesthetics — and that can facilitate experimentation: So, if I think that an instrument might work in a particular song, I will ask myself where to find this instrument in a later stage. I can anticipate that there will be guests different than those in the first record. It is a thing linked with this moment, in the sense that in some passages that I wrote there is a certain instrument.

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I have already contacted the person and I decided to write knowing who the player will be. It is important to give people the right space. At the moment I also have many other ideas on collaborations and question marks. Some things will recur and some things I have already decided. Talking about an album, describing the mix of its ingredients is misleading if not giving required relevance to the cooking process that makes the difference out of it.

Yet Paolo Botta holds no secret of the ingredients he cooks with and, musically speaking, of his debts with the past. I like being able to cook using ingredients that belong to others, which are common in other cuisines. Without surrendering to a quotation only style, without adhering to a sterile use of vintage revival instruments, without falling into the trap of the juxtaposition between music for the mind against music for the body, Autunni is a record that still does not sound like a reprint, but as a an innovative record still today.

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