In collaboration with Geoff Foster,
the sound engineer of Interstellar and Dunkirk.
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 Grandmaster), 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 do-goodism. 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.

The second single, Fury, is characterized by its turbulent orchestra, devilish drums and screaming sax. Its videoclip made by French artists Samuel Yal delves into a disturbing dimension whose pastel and saturated shades seem to draft a plastic poem. The visual piece carries the rhythm of a hopeless nature’s dance which accompanies a man who, struck by his own mortality, tries to trap within himself a symbol of the infinite: a screaming bird with twisted features. 

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