“The whole EP is indeed a metaphor of a city put into music” | Interview with Carlo Peluso

Hailing from Turin, Italy, Carlo Peluso delivers instrumentals which balance between jazz fusion and progressive rock. In Tianguis you will experience unexpected turns, solid performances and an exciting continuous development during the track. Oh, and a lovely guest from Serbian singer Katya Tasheva who adds an extra punch of flavor. Read our discussion with the talented artist below.

Describe your sound in three words

energetic, complex, narrating

Tell us a few things about your mini album Kaleidocity.

During the pandemic I took the opportunity to resume my activity as a composer that I had put aside in the last few years after the release of my first EP “Earthshape” in 2015. I recorded this album entirely at home, knowing that out there was a completely deserted Turin. The whole EP is indeed a metaphor of a city put into music. This city is described in three tracks, each of which represents one of its neighbourhoods. All in all, it was a short working process, but very intense on a creative level. The musicians who worked with me were Giovanni Peluso on guitar and Marco Fabricci on bass, with the help of Federico Ascari (mixing engineer) and Matteo Bevilacqua’s Glimmer Management. One track also features Serbian singer Katya Tasheva.

Favorite keyboardist?

Tony Banks from Genesis and Kit Watkins from Happy The Man, one of the most underrated bands on the planet.

You mostly focus on instrumental music. Is the absence of vocals an extra challenge when it comes to promotion?

Yes absolutely, most people in Italy are unfamiliar with instrumental music. It seems to be relegated to the background, but in reality it expresses as many emotions as vocal music can.

What is the first advice would you give to someone who wants to learn how to improvise? Is improvisation a talent or a skill?

To improvise is certainly an important skill for a musician. Some musicians are born with an attitude for improvisation, while others develop it over time. The advice I would give is to listen to as much music as possible and acquire the languages of other players, in order to communicate better with them during improvisation.

In which state of mind do you imagine people might listen to your music?

I think this music contains a lot of different moods, so it’s good enough for me that people focus on one aspect that they find more interesting, instead of labelling this work under any particular mood.

What do you enjoy most? Writing music or performing your music live? And what would be your dream performance venue?

Live music is definitely a universe of emotions and experiences, whereas recorded music is more rational and, if you like, more solitary. I prefer to alternate the two as much as possible. My dream would be to perform at a prog festival outside Europe.

Favorite Italian movie we should watch tonight?

I’m not much of a film fan, but one of the best directors we have is definitely Giuseppe Tornatore.

Thank you!

Follow our new Spotify Playlist “Reinvented Eclectic” feat. Carlo Peluso

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