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Videoclip/Music Videos


Art Music Video

L’ambito dei video musicali per me è uno spazio di sperimentazione dove le immagini costruiscono un immaginario, delle visioni in grado di esaltare il brano musicale, piuttosto che descriverlo semplicemente. Un incontro simbiotico sotto forma di sinfonia visiva fra musica e immagini. Un ibrido che mi piace chiamare Art Music Video.

Art Music Video
The field of music videos for me is a space for experimentation where images build an imaginary, visions capable of enhancing the piece of music, rather than simply describing it. A symbiotic encounter in the form of a visual symphony between music and images. A hybrid that I like to call Art Music Video.


Paul Roux - Bapteme
Alessandro Amaducci directs an impressive animated promo for Paul Roux.
The video for Bapteme sees an astronaut trapped in a cage of data, searching for something or someone. He eventually discovers a host of cyber insects creating another world, and another person waiting for him. The encounter between the two characters produces a technological reaction that helps free them.
The glitchy black and white textures amalgamate with retrofuturistic design, creating something that feels ethereal and evocative. The splash of colour at the end perfectly represents the journey towards freedom, and a new world lying ahead of the characters.

Rob Ulitski,, 2022

The music video for Paul Roux’s Bapteme artistically and imaginatively captures the essence of connection. With a futuristic setting that matches the electronic soundscapes the artist operates with, this video is well-suited to accompanying the new track.

The video loosely follows an astronaut as they explore a desolate, abandoned city seemingly made of stacked-up records. The astronaut travels in zero-gravity through this strange, sometimes intimidating world, and eventually meets a partner who they initiate a connection with. This connection brings new life and colour to the world as the pair embrace.

Bapteme’s video is interpretive, and as with all music videos, designed to emphasise the song rather than any great plotline. Using impressive visuals, the video is a treat to watch, and matches the song’s tone. Electronic music can be tailored to many emotions – and here it is clear that the importance of contact, forging relationships and communication is what the artist seeks to embolden with his music. The video envisages this without awkwardly inserting a complex or distracting plotline.

The visual effects themselves work well and look crisp, slick and convincing. The video is designed to look robotic and otherworldly – with crackling static embroidered into the design of the bizarre city, and a digital space background bringing a definite sense of unease to the astronaut’s adventure – with the danger of floating away into nothingness an ever-present threat. Mostly in black and white, the film intentionally mixes the futuristic and the distant past to place the events in an uncertain timeline – possibly at the creation of a new world or after the destruction of an old one.

The actual music is allowed to dictate the video’s events, with the repetitive beats convalescing their own momentum and grabbing directly into the listener’s chest. With electronic music particularly designed to be shared with others, the normally-solitary act of watching and examining a music video tends to run in countenance to this. But Bapteme’s is visually interesting enough to fit-in should it be required at a dance event or anywhere else it may be required. Even brief glimpses of the film are attention grabbing and dynamic enough to supplement its pulsating music.

So whilst the Bapteme’s track is interesting enough alone, fans of Paul Roux and the electronic genre in general should check out the interesting music video and appreciate the imaginative work in bringing the crafted beats to life.

Patrick Foley,

PROGedia-Down (Original mix)

(…) The new single by Fed Conti opens with a theatre setup in middle of the night sky. The camera slowly zooms into it, transporting the audience in the world of Robots. The curtains pull up and the downloading sign comes on the screen as the concert kick starts. The masses enjoy this new concept to the core and look forward to such content by R&S Records- the long standing electronic music powerhouse in the future as well. The upbeat track with the drumming, guitar, microphones, and the piano all gives the vibes of a real virtual music concert. The twist to the tale comes when the concert is customized according to the robots. This is the refreshing unexpected change that the audiences are also surprised by. As an audience and a music lover I liked the inclusion of computer coding at the end of the music video. This was a smart move to increase the audience engagement with the high end concept.

The camera angles, set design, the lighting, color palette, editing and the special effects all of these come together to work hard and build such a brilliant piece of art. All the elements-Robots, set of the concert, the computer codes are very well placed. It does seem very smooth and does not break the continuity of the music video. The gate of the theatre has the logo of R&S Records; this music band invites the viewers into the world they have created for the masses. The audience wants to be left in the same environment and not come out into the real world. The makers of this music video pay attention to all the minute details of the creative piece so that it appeals to the audience and the public spreads the word of mouth.

Swati Verma, , 2022

Alessandro Amaducci creates a darkly futuristic animated promo for PROGedia, a mash-up of psychedelic rock and dance beats by Turin-based producer Fed Conti.

In the video for Down, a group of lonely androids absorb the energy of the music of the past from a screen, producing a digital hybrid that tries to interpret the sights and sounds.

The glitchy textures and unsettling atmosphere of the video perfectly encapsulate the haunting soundscapes of the track, and balances a bittersweet contrast of post-apocalyptic narrative versus our innate appreciation of music - even when our human bodies have evolved to android form.

Rob Ulitski, 74913 (2022)

PROGedia-We Are the Night (Original Mix)

A combination of beautiful animation and wonderful music create a rather unique music video.

Composer Conti and director Amaducci collaborate and the combination of their creativities resulted in a five-minute long video that is filled with captivating visuals and a rich and enjoyable score.

Visually, this video consists of a montage of images that offer a surreal viewing experience. Many of the images contain women, the vast majority of which are naked and for it should be mentioned that the nudity is rather graphic. Women appears to be the main subject here as are constantly present throughout the video, either lying down, standing, dancing or floating in the sky. Although many women are seen, the ones that stand out the most are the ones who are dancing and it gives the impression that they are dancing to the music that is heard. Some of the women remain still, while others move. Women are seen in all sorts of environments, including mountains, beaches, the countryside, near buildings and there is architecture that resembles Ancient Greece. The animation looks beautiful and every moment looks like a painting coming to life. The sequences that utilise computer animation look great and there are brief moments that include live action.

Concentrating on the music now, the track, it consists of a mixture of psychedelic, electronic and nu jazz and listening to it is relaxing and mesmerising. Viewing the film while hearing this song is quite an experience, in a way it brings the audience into a world that feels like a dream.

Due to the nudity, this video will probably not appeal to everyone, however the creativity that was put into it is admirable and the outcome is an experience that takes the viewers on a journey that will most likely leave a memorable impression.

Jason Knight, (2002)

Alessandro Amaducci takes viewers on a journey into the world of nocturnal paintings, in the video for PROGedia's We Are The Night.

The haunting promo is presented as a dancing celebration of the night, with ethereal beings and patterns intertwining in a magical fashion.

The hypnotic blend of textures, desaturated colour palettes and surreal visual effects amalgamates into an aesthetic that transcends the concept and leaves a lasting impression.

Rob Ulitski, (2022)

Che fine ha fatto Baby Love?

Alessandro Amaducci si propone sulla scena con un originale progetto per i Roulette Cinese, folle brillantissima band di art-rock. Si tratta del concept video-album Che fine ha fatto baby love?. Nel prologo un rullo fa scorrere l'antefatto, spiegandoci che "presso il Centro di Igiene Mentale della città di Traunitz, i due attori e coniugi R e C metteranno in scena il loro ultimo spettacolo", con 'la "straordinaria partecipazione mentale della loro figlia, Baby Love", la quale nella rappresentazione è una insulsa bambolina caricata di significati, I due della Roulette hanno una forte impostazione teatrale, con tanto di facce imbiancate dal cerone nello stile dei mimi e contorni marcati come nell'avanspettacolo. Buñuel è subito proposto come nume tutelare in 1999, dove si esprime il progetto estetico dell'opera: un reticolo di effetti elettronici che divengono pittura schizofrenica, laddove il furto dichiarato di materiali visivi dà più la sensazione di avere una matrice nello stile di Rotella piuttosto che nella verifica incerta di Alberto Grifi. Il segmento anatomico si (s)compone per dare senso alla loro idea di Trasfigurazione, mentre la Roulette cinese è vista come un gioco pericoloso con la vita e la morte, in cui i loro volti sono resi orrendi da elementari ma efficaci morphing. In Vegetale prendono forma gli effetti di devianza psichedelica che può procurare alla mente una eccessiva esposizione al tubo catodico, adorato ma anche letteralmente violentato sessualmente, in un isterico flipper di schizzi elettronici su cui si stende il ghigno mefistofelico del cantante. Immagini di devastazione in Con-forme per ricordare l'orrore supremo; acida grottesca rappresentazione fashion in Salubre per ricordare l'orrore ridicolo della moda; stilizzata messa in scena delle vite di coppie (più o meno) re golari in Un giorno normale per ricordare l'orrore asfissiante della famiglia. Pura astrazione per rendere in forma colorata le Ombre sulle ombre, dove l'elemento umano è la grazia infinita d'un corpo di donna che minaccia di farsi offendere da un coltellaccio. Decisamente personale la loro versione di una Love Song, unico tomo dell'opera che possa ricondursi alla forma più ortodossa del videoclip, accennando un playback per quanto in maniera singolare, attraverso lievi animazioni di immagini fotografiche. Un giostrare di bambolotti crea una Sacra danza che alterna amore e guerra, sottomissione femminile e machismo militare, se non fosse che alla fine la minuta bambolina si ritrova a mostrare orgogliosa la testa mozzata al violento soldato che l'ha posseduta. Tra un clip e l'altro, dei siparietti di puro teatro off, i quali rendono omogenea la materia incandescente del concept video-album, il quale in fondo potrebbe essere definito un Teledramma.

Domenico Liggeri, Musica per i nostri occhi. Storie e segreti dei videoclip, Bompiani, 2007, pg.540-541

Baron Samedi, Scarlet Woman, Fools and Dolts

Tra le altre opere di Amaducci, ecco le più importanti. In Fools and dolts dei Sadist ben asseconda i clangori del brano inoculando nel clip segni metallurgici e cattiveria obitoriale. Per i Death SS del l'inquietante Steve Sylvester realizza quindi Scarlet woman e Baron Samedi: qui malattia e decomposizione divengono horror-fashion, carico di simbolismi medievali ma anche attento a esaltare la vanità del leader, in un sovraccarico di dissolvenze infuocate.

Domenico Liggeri, Musica per i nostri occhi. Storie e segreti dei videoclip, Bompiani, 2007, pg.541

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