“Everything is only ruins from the future, a stratum for another layer.”
The theme of coming to terms with death returns in Bad Pritt’s emotional new instrumental, May 9th from Debris, where acceptance is the outcome of the healing process.
Bad Pritt, the brainchild of composer Luca Marchetto of The White Mega Giant, draws deeply from the wells of serial art and cinematic harmonies. This results in a refined electro-music landscape tinted with nuances from the neoclassical movement. “May 9th” stands as a reflective solace; a poignant and psychedelic interlude, granting listeners a moment to recollect, emote, and rejuvenate amidst surges of sorrow.
The soft, melancholic hum of the piano mingles with jarring dissonance, encapsulating a serenity disrupted by moments of raw anguish. The music becomes a vivid portrayal of coexisting with both sorrow and elation—where the piercing sting of recollection is softened by the warmth of gentle solace. A shift in rhythm mid-piece conveys life’s relentless march forward, its persistent rhythm ushering us into an everlasting embrace of eternal love.
“After dealing with an overwhelming pain, disconnection from reality can occur and you separate yourself from your emotions, just observing the ruins all around you,” he says. “When you are detached from yourself, only laconic notes are written, sometimes with complicated space-time references: we cannot recognize anymore those territories we were used to step on.”
There is a simple, yet hypnotic, visualiser for the song to help guide you through this labyrinth of emotion:
May 9th is available on all digital stores, via The Orchard. Stream and download below:
Upon the stage, surrounded by myriad devices and haunting visuals, he stands alone – a singular force that might appear as a producer at first glance but resonates with the rich diversity of a global village orchestra. Following his eponymous 2018 debut and the transitional EP1 from December 2021, Bad Pritt has evolved, shedding the atmospheric electronics and mild pop overtures for a grittier auditory terrain.
“Debris,” his latest offering under the Shyrec banner from this past March, initiates with a classical, tender motif, which incrementally unravels before reaching total dissolution. Each of the album’s seven pieces is timestamped with dates, as if anchoring them to specific instants – an endeavour to crystallize fleeting moments within the continuum.
Bad Pritt has had the pleasure of sharing the stage with Jerusalem In My Heart, Hania Rani and Mai Mai Mai.
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