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Mario Molino, one of the few composers-guitarists in the fascinating world of library music, created this original soundtrack for a documentary movie produced by RAI, the Italian national TV, of sci-fi environments by blending fuzz, distorted and psychedelic sounds with Hammond organ, clavinet and electronic effects played by himself to merge into symphonic epochal moments. Of the 8 tracks that make up the album, many have Cosmic Krautrock moments.
“Inside” was recorded in 1975 in the then renowned studios Fonit Cetra of Rome. “Tema spazio” introduces us to the ethereal galaxy before we get into the mysterious stars of “Le pleiadi” where Molino’s prog rock begins to take shape with fuzz guitar, drum breaks, deep bass and an orchestra to strengthen the melody with an approach similar to Luis Bacalov for New Trolls (“Concerto Grosso”) and Rovescio della Medaglia ( “Contamination”), but with spatial inspiration. “Finale titoli” lends symphonic rock to blues moments; the eight minutes of “Tempesta” are definitely one of the most cosmic tunes where Molino, as well as the guitar, experiences a crescendo of electro-analog effects. “Tecnologia moderna IIa parte” is an obsessive psychedelic guitar and drums loop that recalls the teutonic CAN.
Cinedelic
Cinedelic
Mario Molino, one of the few composers-guitarists in the fascinating world of library music, created this original soundtrack for a documentary movie produced by RAI, the Italian national TV, of sci-fi environments by blending fuzz, distorted and psychedelic sounds with Hammond organ, clavinet and electronic effects played by himself to merge into symphonic epochal moments. Of the 8 tracks that make up the album, many have Cosmic Krautrock moments.
“Inside” was recorded in 1975 in the then renowned studios Fonit Cetra of Rome. “Tema spazio” introduces us to the ethereal galaxy before we get into the mysterious stars of “Le pleiadi” where Molino’s prog rock begins to take shape with fuzz guitar, drum breaks, deep bass and an orchestra to strengthen the melody with an approach similar to Luis Bacalov for New Trolls (“Concerto Grosso”) and Rovescio della Medaglia ( “Contamination”), but with spatial inspiration. “Finale titoli” lends symphonic rock to blues moments; the eight minutes of “Tempesta” are definitely one of the most cosmic tunes where Molino, as well as the guitar, experiences a crescendo of electro-analog effects. “Tecnologia moderna IIa parte” is an obsessive psychedelic guitar and drums loop that recalls the teutonic CAN.
