Alternative-classic has a new star, and it’s called Fury. The new album of composer Stefano Lentini is an elegant thunder which mixes classical music with a progressive and post-rock flair, enriched by an orchestral style typical of soundtracks. Fury will be released November / December 2018. It is the latest album of the Italian composer, well known for his collaborations in music for film for directors such as Wong Kar Wai (The Grandmas- ter), Giacomo Campiotti (Braccialetti Rossi) and Carmine Elia (La Porta Rossa). The project is “an alternative way to live classical music. There’s nothing classical in a violin and nothing modern in a synth. It all depends on attitude” states Stefano. It designs a dimension where apparently incompatible elements get together and give birth to something new and intimate. “I mix the cards, I live in the same way heavy metal and symphonic music”. Good vibes? Overrated. Fury, produced in collaboration with award winning sound engineer Geoff Foster, (3 Grammy Awards for Both Sides Now by Joni Mitchell, Ray and The Dark Knight soundtracks), explores the territory of anger and redemption, where personal inwardness becomes collective. It is a journey in which the emotional crushes with the rational smashing the syrup of dogoodism. Freedom built out of geometric elements, Fury explained by Stefano is a “journey into anger which leads to its understanding, contact, its encapsulation into something else”. To confirm this concept, there’s the only track with lyrics, Les Fleurs Du Mal, which explores the depth of a censored pain. The song, written in French, owns with profane elegance the album’s primitive essence. Suite After the Furies, the album’s flagship piece and first single, takes shape from artist Kevin McGloughlin’s visual work, by 3d light ghosts. The single encapsulates the special effects illusions of a new world which threatens to destroy but ultimately softly expands, culminating in a piano epilogue which develops in a climax of tense flash glows.
Stefano Lentni is a music composer based in Rome, Italy. He has produced music extensively for film, television and documentary, increasingly gaining prominence for his soulful and unconventional touch. He is part of the new generation of Italian composers whose cutting edge soundtracks make them worthy heirs to Rota and Morricone. Stefano dedicated himself to the composition and arrangement of music from an early age. His first instrument was a classic guitar made by his grandfather, a carpenter, out of some old wardrobe doors. He graduated with high honours in Cultural Anthropology and studied Ethnomusicology in Rome and in London. He made his artistic debut at the Folkstudio, a historic nightclub in Rome. As a multi instrumentalist, Lentini is known for blending classical music with folk and electronic influences through the use of multi track recording. His main combinations include acoustic guitars in a John Renbourn fingerpicking style with electric bass, piano and string orchestrations. He additionally mixes sampler and synth with electric guitars. He is therefore considered part of the cross-chambermusic wave. His work has increasingly gained international recogniton in the film industry. In 2013, he composed the Stabat Mater for the double Academy Award nominated feature film The Grandmaster of director Wong Kar Wai. Further relevant collaborations include: Maresia (premiered at 2015 Festival des Films du Monde in Montreal), The Nest of the Turtledove, The Ballerina, ShooHng Silvio, Grazing the Wall (premiered at 69th Venice International Film Festival) and Taranta on the Road (Best Music Theme nominee at Fabrique Du Cinéma Awards). His music productions for television include the Italian series La Porta Rossa (nominated for Best Soundtrack at the 2017 Fimucitè Film Festival) and the International Emmy Kids Awards nominated BraccialeX Rossi 1,2,3.