Game Design From Outer Space

Sometimes you don’t have to look for a sound track, it’s the sound track that’s looking for something to fit in with.

Federico Fantuz (Photo by Nicoletta "Nika" Antonini)

Music for No Games: Interview with Federico Fantuz

Hi! Let’s start with an apparently simple question: who is Federico Fantuz?

Hello! Federico Fantuz (who tend to be those who are answering now) is first of all a human being, extremely defective. He is from Bologna and he is left-handed. The instrument he approached the music with is the guitar, but he is careful to define himself a “guitarist”. He prefers “musician”. He studied confusing but passionate touching many genres of music. He currently plays and participates in various bands and projects with collaborators including: Beatrice Antolini, Edgar Café, Nave Cargo Parampampoli, Incident on South Street, Shiva Bakta, Nino Scaffidi, Sergio Altamura, Paolo Poggio, Vittorio Carniglia, Bambini Bonsai Reading, Tubax, Nicola Barilli, Valeria Scardigno, Coltelleria Einstein, La Fionda Teatro and many others. He has a solo project called Music for No Movies.

Ok, tell us something about your Music for No Movies project.

Music for No Movies is a reverse-project. There are some orphan music soundtracks: they looking for right movies motherhood. Music for films that don’t exist (yet). They are soundtracks for “idle-times”, a technical term that defines the “gaps” of a cinematic story. The idle-times in a story cannot exist – if not specially designed for the purpose of the narrative – so they are meaningless, while in everyday life they do exist. I tried to think of this music especially for these “emptiness”, for these gaps, for these small cracks of life, in which we can make a space reflective. Which is what commonly happens when you notice someone standing still enchanted with the look a bit off into space. To describe that scene, in Italy we have a slang expression that literally would be: “I do movies in my head” but it can be translated as: “You’re stuck in your own trip”. The first album of this project is titled Violent Zen and was released in April 2011 for Fluttery Records.

How many of the songs contained in Violent Zen have already found something to fit in with?

I sought and received proposals to “adopt” my “orphan music” by images or another. Some things are still being worked others were created. Among these there is collaboration with the Japanese film maker Yuki Eikawa that has allowed me to accompany her beautiful non-stories in pictures on the flow of daily life in some cities in the world. Here are some examples:

The Dog and the Downpour (feat. Yuki Eikawa)

Earth Job (feat. Yuki Eikawa)

Air Games (Feat. Yuki Eikawa)

Furthermore, my song Earth Job has accompanied the animated short by Antonio Privitera. Then there’s the Urustar project, your “non-game” Dream Jobs for which I was very happy to have lent my track “Space Trees”.

What’s your relationship with the video game industry? Are you interested in this fastest-growing form of media?

I’m not a great video game expert but I think it is especially interesting as a new form of art. I think that a video game can become art. I cite one for example: Machinarium by Amanita Design. In this case not only they managed to create a beautiful game but they also wove skillfully design, film, music and story.
Also I really like your project but here I can not say that :-D

Your project’s name is kind of cinematographic oriented, do you think Taste, Share and Have Fun is just the exception that proves the rule?

No, the orientation of Music for No Movies takes from cinema because it is the field that I know a little better and why have always been a fan of the musical form of the soundtrack. But this does not mean that my project is exclusively linked to the cinema, indeed! The word “No” in front of “Movies” just looking to break free from the classic film rules trying to explore new forms of music “accompaniment”. So I hope, with your cooperation, I did not get stopped at an exception.

Rolling Stones Italy defined you as one of the most talented musician in the country, you’ve been part of the indie music scene for many years now. Do you think the indie musicians are aware that there’s an emerging indie scene in the video game industry too? Do you think the experience you guys gained in these years could be useful for independent game developers?

I do not think the indie scene that sometimes I attend there is a great deal of attention for these new forms of art such as the video game art although, as I said before, I’m not a great expert. As long as the Italian indie scene will continue to call themselves “scene” there will never be anyone who will nose out the door to see what’s outside it. I can think of only one example of this type of meeting, and in this case, as far as I know, I think it’s an exception. Luca Lumaca has produced a video clip for Julie’s Haircut using the technique of video games of the 80’s.

The encounter between musicians and developers to create new forms of expression would be a great resource to exploit. I feel that this meeting should be held to an even higher without the knowledge of the underground. As such it seems to me that it happens in the Rap and Hip-Hop less known circuit.

Here some links about Music for No Movies:
Fluttery Records
On iTunes
On Facebook
On Twitter
On YouTube

[Photo by Nicoletta “Nika” Antonini]