Split into ‘Left Hemisphere’ and ‘Right Hemisphere’, there are a total of 20 tracks with each side showcasing a different skillset of the multi-faceted artist.
The upbeat electronic sounds mixed with peppered-in vocals from ‘Left Hemisphere’ signify the rational part of our brain, weaved together from Italo-Disco, UK Garage and Nu jazz, the amalgamation of influences come together to form a fresh type of narrative, artistically.
‘Right Hemisphere’ on the other hand is a collection of solo piano tracks filled to the brim with raw emotion, inspired by the natural world. Taking inspiration from Far Eastern culture, Dario links Japanese philosophy into this half of the journey. It’s an eclectic mix of genres and feelings, taking you on a trip through the winding path of life and the earth. ‘Duality’ is something completely different from Dardust’s previous bodies of work, it’s the first time piano and electronics have been separated on a release with the two sides of him being showcased in a brand-new and exciting way.
Dardust’s music has been featured on a global level at events such as the Superbowl, an NBA All-Star game, and the closing ceremony of the 2022 Beijing Winter Olympics. To say Dario is merely good at what he does would be a massive understatement, he began studying classical piano at the age of eight and recalls his coming across a picture of Bowie’s stage persona Ziggy Stardust as a turning point. That day he fell in love with David Bowie and seeing “a man who looks like an alien” opened his eyes to the idea of combining different genres, forging the unexpected.
Dardust will play shows in Italy, Germany, and Belgium before concluding with a headline show in the UK for his 2023 ‘Duality’ tour. The live shows will feature a unique, multidimensional experience with spectacular visual effects.
House Of Solo spoke to Dardust about his new album, his love for reimagining classical music, and his fascination with Japan.
Hi Dario, your latest release, ‘Duality’, is a double album comprising 20 tracks. The first half showcases your talent in combining electronic sounds with your minimalist piano pieces with the second half being piano-led compositions, each signifying a different season. How did the idea split these two realms into side-by-side yet merging experiences?
Because I am the ‘21st Century Schizoid Man’!–That’s one of my favourite tracks ever.
It’s a question that puzzles me. It’s like asking David Bowie why he had two different sides on ‘Low/Heroes’. I guess today’s world tends to get very specific about music, restraining the listener’s experience. It makes me wonder, in a very fluid world with no barriers, music tends to be specific and specified. We all have two personalities, it’s the Jekyll and Hyde syndrome I suppose. Hence, on one side, this record is very electric, non-organic and closer to free jazz experimentation; the other is more intimate, organic, and essential. It is adapted to my live show which contains many theatrical elements, mainly from the Far East. There isn’t enough ‘Orient’ in our society today. In a way, this could be defined as a progressive record. I’m fortunate that my record company follow me in this madness… maybe they are mad too!
Do you have a favourite track from your new album? Or are there any you are particularly excited to release into the world?
When I’m writing and producing new pieces, it always happens that the underrated ones, the ones I like the least, at the end of the day, become the favourite ones. I guess that goes for every artist, however. Mick Jagger must loathe satisfaction. No exceptions for this album. Petals and Petali, which are the same piece in two versions, electronic and piano solo, are my favourite.
Your 2023 ‘Duality’ tour sees you play in Italy, Germany, Belgium, and The Netherlands before your final show headlining the O2 Academy, Islington, here in the UK. How are you preparing for the tour? Do you have any pre-show rituals?
I will have a crucial talk with my piano coach about how to improve my performance in piano solos and how to optimise the 30 minutes before every performance. When I go on stage for an electronic version, I immediately feel comfortable so I don’t need special preparation. However, playing a piano solo is different because the performance requires precise focus and concentration. I meditate for 30 minutes, visualise all the piano sets with closed eyes, and drink a glass of wine to feel more relaxed. Then, on the day of the performance, I don’t smoke or drink coffee, I try to be alone in silence all the time if it’s possible.
I love how you take classical music and reimagine it with electronic soundscapes creating your genre of neo-classical-meets-pop. Can you tell us a bit about your creative process? How do you get from an idea to a finished track?
Each time is different and I’m always trying to test different approaches to writing a song or a piano piece. Sometimes I start from a groove or a sample, sometimes I begin to improvise a new theme with the piano. When I feel something magical, I stop myself and begin to investigate the possible direction of the song and if it’s going to be piano solo, piano and strings, piano and electronics or just electronics. Keep in mind that it always starts with an image I have in mind. Music, to me, is a visual art. I guess that’s why my stuff gets used in the sync world. I was pleased to write the music for the iPhone presentation last year. That meant a lot.
Classically trained from a young age, I’m curious to know who your musical influences were growing up and how the type of music you like has changed through time?
I began to study classical piano when I was eight. I remember when I was in my classroom, a friend took in a music magazine where I came across this fantastic picture of Ziggy Stardust. I felt shocked by his image. A man who looks like an alien, gender fluid, something new for a child of that age in the 80s. That was the day I fell in love with David Bowie and began to discover his music and, most of all, his attitude in combining different genres, creating something unexpected for his audience every time. Later, I discovered electronic music, Kraftwerk, Depeche mode, John Foxx from Ultravox, Giorgio Moroder and his work for films. In the ’90s, I found Radiohead, Sigur Ros, Blur, Chemical Brothers, Underworld, Prodigy, and Bjork. Now the music panorama is quite different; I fall in love with something, but it is more difficult because, in the streaming era, we have thousands of releases every day. It’s challenging to have a compass to choose something that captures your attention and makes you feel in love.
You have a big fascination with Japan which you weave into your inspiration for several tracks on your new album.
You mentioned in 2021 that you were planning a trip to Japan “To immerse yourself in a new world”. Did you make the trip a reality? How was it?
Because of the lockdown, it was impossible to travel in Japan, so I re-imagined it through books, films and expositions. I spent days watching Takeshi Kitano and Miyazaki movies, reading Japanese books and discovering Japanese philosophy. That is something I‘ve always been into because I’m Buddhist.
Having already achieved some great things, what is something you want to manifest for yourself in the next year?
I’m looking forward to playing live. Performing live is the ultimate step, where the music I imagine in the studio switches on and keeps alive. So I want to tour and enjoy a lot of gigs in Italy and abroad.
You performed at the first semi-final as an interval act of the Eurovision Song Contest this year, reworking a number of classic Italodance tracks from as far back as the 70s. How did you find performing at the biggest live TV and online event in the world?
It was a vast and very demanding experience. We had been preparing the performance for months before the broadcast, going to rehearsals on stage several times and refining every detail, light design, choreography and electronic set. During the performance, I had to play many instruments, synthesisers, piano, DJ console and percussion, changing positions on stage every minute of the performance so everything had to be perfect. The audience’s response paid back all the enormous efforts of the previous months.
Finally, what’s next for you?
I’m practising the piano a lot because I have these showcases abroad in October and I have the Duality tour in March 2023. Before that, I programmed with my team ten secret gigs in Italy just to set the mood for my piano solo performances and warm up properly.
