Perdurabo, helmed by the versatile artist Davide Arneodo, presents "Cast Stones." Inspired by the social uncertainties and harsh realities of inner-city life, this enigmatic single features an exceptional blend of electronic, rock, and classical influences. As we had the pleasure of sitting down with the mastermind Davide himself, he shed some light on his inspiration behind the track and his intriguing collaboration with Miro Shot, led by the immensely talented Roman Rappak. Join us as we delve deeper into Davide's artistic vision and discover the essence of Perdurabo through his words.
Can you tell us about the inspiration behind your latest single "Cast Stones"? How did the idea come about?
Back in 2015, I was working on more tracks for my album, and I already had a lot of material. I was driven by a desire to improve and create better and more complex electronic music. I wanted something powerful, which led to the creation of this instrumental track, akin to an anthem, built around a riff captured with my Moog Little Phatty. One of the best ideas for this track, though, was to reverse the whole chorus. Basically, the chorus is a synth chord progression that is literally reversed, making it the opposite of what I initially thought and recorded. This creates a blurred and uncertain image of the whole song. The first spark of inspiration for this track was a sort of feeling of social uncertainty.
You have collaborated with Miro Shot in this song. How did this collaboration come about, and how was your experience working with Miro Shot?
A few years later, around 2018, I traveled to London to collaborate with my immensely talented friend Roman Rappak from Miro Shot on recording vocals for several tracks on my album. I rented a room in New Cross, and we set up with a microphone and a laptop. I played him my tracks, and on the first day, he spontaneously improvised vocals very energetically, one track after another, using the rehearsal sound system. I recorded these improvisations with my phone. The interesting part was that during the night, I selected the best bits and created a rough edit, so the next day we had a structure in place. Believe me when I say that the song is almost exactly the same as the improvisation he did that first day when I heard him singing that loud vocal line for the first time. It felt like the song had always existed, and I was genuinely amazed. It was a very powerful moment for me.
As you say "Cast Stones" draws from the harsh realities of inner-city life. From the 2017 Grenfell Tower tragedy to the recent passing of two-year-old Awaab Ishak due to mold in his house. How did these harsh real-life events influence your process while crafting the song?
In 2017, the Grenfell Tower incident happened, and housing and social issues in London were strongly prominent during that time. So, Roman wrote something inspired by that impactful social moment. Social issues are something experienced in any country; in this specific moment, London inspired him, but it could be in Japan or even in Italy - take "Gomorra," for example, or the terrible living conditions in our peripheries, which are literally abandoned to themselves. In the end, the world is one, and problems are similar. We, as artists, don't judge or say, "Oh, look at those people and their terrible lives". Instead, we aim to prompt people to think: the system in which we are living will implode sooner or later. Shedding light on these issues and weaving art and social conscience together is important to us.
As a classically trained multi-instrumentalist, electronic music producer, and composer, how do you approach blending different musical elements and styles in your work, particularly in "Cast Stones"?
It's a beautiful question, and many people may come across this somewhere, but not fully understand how it translates into music. For me, it happened naturally; these are my main influences, and I wanted Perdurabo to be the world where I freely and instinctively convey all the influences that have shaped me and my musical conscience over the years. In Perdurabo, I can just be myself.
In "Cast Stones," you can easily understand this by focusing on the synth line played by my monophonic Moog Little Phatty. It's a simple yet powerful melody, but not typical. It could be likened to a line from Bach's Partitas and Sonatas played on a violin, mathematical and repetitive. But when I played it for the first time and created it, the last thing on my mind was Bach. It's probably just ingrained in my veins after studying and loving it for so many years. Despite this, the track evolves into a more electronic field.
Some reviews may mention an electric guitar roaring, but I can assure you that "Cast Stones" is entirely made by analog synthesizers. The extensive experience I gained in a rock band like Marlene Kuntz might occasionally shine through. I believe that this diversity is what defines my music. It may not be something that's easily digestible on a first listen, but it certainly offers something deeper to connect with.
You have previously worked with prominent names in electronic and rock music, including members of Apparat, Einstürzende Neubauten, and Placebo. How have these experiences shaped your musical journey and contributed to your current sound as Perdurabo?
As I mentioned earlier, Perdurabo is the musical world where I pour all of my experiences. The musicians I've had the fortune to journey with have profoundly shaped who I am today. Jörg Wähner (Shramm), the drummer for Apparat, has been with Perdurabo from the very beginning and has become a close friend over the years. He is the inspiration behind my move to Berlin and my venture into electronic music. It's more than just a contribution; such experiences can truly change your life. Jochen from Einstürzende Neubauten is another dear friend who has inspired me greatly and even features on my record.
For me, music is about sharing, and as an electronic music producer, sometimes it's not easy because you may feel like you can do everything yourself. However, with my classical training, playing in orchestras and ensembles, and still being part of a rock band, I know when to step back in my own project and appreciate collaborating with others who bring their creativity to the table.
During the lockdown, you set up your own label and released more music, including the collaborative record 'The Time Traveller' and other tunes like ‘The Answer’ and ’10 Pianos.' How was your experience as a label?
This decision was made for various reasons. At the time, the label I was signed with ceased to exist, and the challenges posed by the pandemic and lockdowns severely affected the music industry, making it incredibly challenging to find a new label. I was determined not to let these difficult circumstances stop me, so I decided to take matters into my own hands and establish Perdurabo World as my own label.
Creating and managing a label involves a lot of work, and it was an entirely new experience for me. I had to handle various tasks I had never done before. Alongside the record and tracks you mentioned, I also made the decision to produce my debut album, with "Cast Stones" being the third single from it. It required a substantial investment in the recording process, but I believe it was the best decision I could have made.
Finally, can you give us a sneak peek into what we can expect from your upcoming debut album "Magnetar"? How does "Cast Stones" fit into the broader narrative of the album?
I have already released three singles: "Hopes," "Dark Fire," and "Cast Stones." They all revolve around the theme of resilience - whether on a personal, romantic, or societal level. "Magnetar" is an album that delves into the concept of resilience. It aims to be a guiding light in the darkness, something magnetic that attracts energies and radiates them back in the form of light. This is my way of being inspiring to all those who are fighting for what they believe in out there.
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