If you don’t know Primo Zanasi, get accustomed with “scialability“.
Primo Zanasi – we already told you about him here before – is a gentleman from the sweet province of Bologna, Italy, where the hills meet the sky and the Pianura Padana land fades into a mystical-rural dimension, not too far or different from that in which Giovanni Lindo Ferretti was probably lost with his CCCP at the time of Etica, Epica e Pathos.
But we don’t digress: the gentleman in question is one of those with a passion for vintage rhythmic machinery and the dimension of well-being known as “scialability”. A concept that we do not explain to you, without offence.
Primo is a delicate musician, unknown (perhaps) to the most (and least attentive); he is part of a very small circle of avant-garde beat-making in our country: that fringe that, while appreciating and knowing the Dillian lesson, does not idolize good Jay Dee and slavishly copies his teaching (and the musical solutions).
On the opposite, it chooses personal paths, distancing itself from fads, trends, and drifts. In an incessant way, far from the spotlight, for a personal need first of all, and to satisfy one’s own circle and the few intimates they know: this is uppercase Hip Hop philosophy, I shouldn’t even tell you, right? But yet…
So I find myself telling you how, over the course of a couple of weeks, our friend Zanasi recently published not just one, nor two, nor three, but 12 (yes, TWELVE) instrumental albums. Everything was made in a very short period of time, titled with the name of as many colors, between primary and secondary.
Each of these albums exists in a single copy on a cassette, so come forward if you want to buy the entire collection, and prepare the wallet.
Fat and loose breakbeats chase rarefied atmospheres, never banal percussions: the dilated low-fi funk of the Italian province can bring you to Nepal. Pursuing a wellness utopia, in full “scialability“, precisely, you’ll find yourself rolling between warm and dirty grooves, in a tangle of rustling and lukewarm, the same one I lose myself in now, while I smile.
I don’t waste adjectives, not even as a hobby. I often pity most of mankind, but with Primo and his music, I feel like a better person.
So be my guest on this one, I’d love to tell you more about Primo Zanasi and his Production Specs, which I write while I act in a non-place such as an airport, and Primo keeps me company through headphones. Try it yourself, I leave the word to him, see ya! – Stromberg The Host
The first beat you’ve sold/placed?
Not even one sold, I never received any request and I never tried to sell, I am also a bit “old” for certain things, like…if I respect you, no need for money between us. If papes come, it will come from third parties. I admit that this speech comes easy to me because of the fact that music is not what fills my fridge.
And above all, because nobody asked me. But I don’t think I’d do it. I should value the rapper, but then I’d definitely give it to him for free. For the placement instead, I never made too many attempts, even there, but once I caught Taiotoshi and he accepted my music, yeah, all done…
How long did it take you to produce something you were proud of?
I don’t remember exactly, because it amused me and I still enjoy it so much, that every time I’m satisfied with it, because of the wonderful sensations it gives me making music.
Your favourite production set-up?
A tool that acts as a sampler machine and sequencer, a synth, and some effects to jive a bit.
The best “digging advice” you’ve ever received?
Unfortunately, I do not like advice, as soon as someone recommends something I go the opposite direction, because in some way I consider it “his” discovery, and no longer my own, and therefore I would not feel “unique”, as I try instead of being…I repeat: I try. I’ve always tried to get to things on my own, listening and trying, over the years I then realized that music, like many forms of creation, is more a matter of approach than of technicalities.
The producer, over the past 3 months, that made you say, “Oh, shit, I have to get back on the machines”?
DJ Spass, when he sends me some beat videos that he doesn’t release.
The worst production mistake you ever made?
Dwell too much on things. It happened in the past, in a period we say more “formative”, now not that I’m too formed (thank goodness one is never complete), but I know more what I want, and I lose less time in subtleties that do not increase added value.
An essential tip for mixing?
Let it do to those who know how to do it, especially at the beginning, to learn something, if you want to do it, don’t overdo it with magic plugs, work on equalization and volumes. A good mix is one in which all the instruments feel good.
