Music inspired by a ‘hard but healing’ experience
Requiems in music come in many forms, from the operatic grandeur of Giuseppe Verdi, to the serenity of Gabriel Fauré, and the fiercely anti-war War Requiem of Benjamin Britten. These all use Latin words from the Requiem Mass, but a wordless requiem can also be effective. The Italian composer, multi-instrumentalist and visual artist, Giancarlo Erra has now released Departure Tapes, an instrumental album which is not a formal requiem but is dedicated to his father, who passed away from cancer recently. Perhaps the nearest musical comparison is not the formal requiems of Verdi, Mozart and Fauré but The Disintegration Loops by the American composer William Basinski, dedicated to the victims of 9/11. Basinski’s music was created using tape loops that gradually deteriorated as they passed over the tape heads. Erra’s music shares some of that rich analogue sound world. As he charmingly notes on the CD sleeve, ‘Please note, unusual loud vinyl noise, skips and distortions, are part of the samples I created for this album and are not audio problems.’
Giancarlo Erra began the band Nosound as a solo studio project and later expanded it into a full band to play his music live (exactly as Steven Wilson did with Porcupine Tree). He released his first solo album Ends in 2019. He had already started thinking about his second solo album, which he was planning to make more experimental, when, ‘my father suddenly got ill…and everything changed.’ His father had left the family when Giancarlo was 14. The two of them spent more time together during the final few months than they had done for years. Giancarlo found the experience, ‘hard but at the same time healing’, bringing a sense of closure. This is reflected in the music, which is uncompromising, deeply personal but also strangely uplifting. The album was written when Giancarlo was travelling between his home in England and his father in Italy. Most of the material was improvised live in the studio, with Giancarlo playing all the instruments.
The opening track, Dawn Tape, features a melancholy repeated piano figure, with vinyl static, a long synth pad and a slowly evolving bass drone. Shimmering strings describe the sun rising slowly as the dawn creeps in.
The short Previous Tape is a simple, evocative, slow-moving melody over gentle arpeggios. The track has a nostalgic feel, with the sound of a horn heard from a distant mountain top.
169th Tape features cinematic strings which distort and decay sadly, like Basinki’s Disintegration Loops, the number of the tape perhaps suggesting that it has been through several iterations which have gradually worn it out. The key change in the chords around half way through suggests a moment of hope in the weary feeling of resignation.
By far the longest track on the album (the video is an extract). Like the album itself, the video is dedicated to Giancarlo’s father. He recorded the song after his first visit to his father in Italy, after finding out about his father’s illness. He describes how he was ‘exhausted and down.’ He began playing live, experimental music in his studio as he tried to face his conflicted feelings which came out as a, ‘free subconscious stream of thoughts.’
The song begins with a haunting solo voice, sounding rather like Jónsi from Icelandic band Sigur Rós. It feels like an incantation, a wordless prayer, or a plainsong chant. It is soon accompanied by the sound of a harmonium, the closest we get on the album to the sound of a requiem sung in a church. The voice is gradually overwhelmed by a sea of ambient strings.
The piano then takes on the central role, filling a cathedral-like space with resolute chords. The piano melody then searches for meaning, gradually finding hope as it accelerates until it begins to lose confidence; eventually it falls over itself in a tumult of grief.
The solo voice returns, appearing out of a haze of buzzing strings, before the track ends in ambiguity with uncertain piano motifs, fading into obscurity.
The closing track, A Blues for my Father, finally pays direct tribute to Giancarlo’s father. The video for the song features nostalgic, happy family scenes, shot mostly in black and white, interspersed with contemporary autumn leaves which seem to be sodden with tears. The music gradually resolves into another haunting theme, melancholy and contemplative, a bittersweet and moving tribute to a lost father.