Tristan Roma wants to participate in reviving artistic collaboration between France and Italy.

When European borders still physically existed, artistic collaboration between France and Italy was vibrant. Unfortunately, free trade does not seem to concern artistic creation. Now that the borders are no more, the cinematographic and musical collaborations between the two countries seem close to nothing.

His love for the French-Italian cinema of the 60’s and 70’s and its iconic music are the soil that gave birth to this first EP. ‘Primo Scenario’ is the opening of a film whose continuation we must imagine. Each song lays the foundation for a strong story, and the rest is up to the listener.

“The music must be in constant evolution”

You were active in bands including Admirals Arms and Kid North for a few years, what led to Tristan Roma and what is the main idea behind it?

To me the music must be in constant evolution, following the quest of life and reflecting the moment. When we were writing the second album with Kid North, called ‘New Waters’, I made my first trip to Italy. The discovery of the country and the details of its culture was love at first sight. It felt like a part of me was born here. It was a very strange and strong feeling. I couldn’t deny that it melted with an emotional torrent. Back in Paris, I felt the need to express all these feelings in a song that became ‘R222’ on Kid North’s album. But it wasn’t enough, I had too much to tell and I needed to tell it on my own. So I began writing songs and step by step, it became Tristan Roma.

“When you choose to be surrounded by culture, the culture becomes a part of you”

You’re half Italian living in Paris. To what degree does cultural heritage have an impact on you as an artist?

My blood is French, but my heart is Italian. I adopted this country as much as it adopted me. The richness of its culture is mind-blowing. Cultural heritage has an impact in different ways. For example, your location can be crucial on the way you create something. Living in Paris is a constant inspiration, it’s obvious, culture is everywhere. But a way to go further into that is to pretend you are somewhere else. Like living in Paris and writing music as if you were living in Turin or Milan, it’s a good imagination exercise which helps to have a broader vision. And it works with everything because when you choose to be surrounded by culture, the culture becomes a part of you.

This is when I’d like to talk about the cinema as a gigantic influence on my music. Mainly because it’s prefabricated imagination and it’s a crossing of disciplines. It leads you in a time, in a place, and in a story that you just need to let yourself slip in. And other than that it teaches so much of life by showing you what you wouldn’t experience yourself. It’s the perfect reflection of a culture.

How do you see the differences of Italian and French expression when it comes to art, music?

It’s hard to compare, the background is so different. What I can say is that we share a certain sense of lyricism. We also share a certain will to break the rules of creation. I’d take for example the radical movement in design in Italy in the 60’s/70’s and the nouvelle vague in cinema in France or the neo realism in Italy. The only difference that I really feel is that Italian artists might take themselves less seriously. There’s often a great sense of humor hidden in their creation. French artists are more serious.

What do you think was the missing link between the two countries?

There used to be a vibrant artistic link, especially in cinema. I’m not sure what made it disappear but it might be the decline of European cinema, especially in Italy. In the 80’s Hollywood produced films with huge budgets that left little room for European cinema. In the field of music, Adriano Celentano or Umberto Tozzi used to write some very big hits for French pop stars, but at one point this type of collaboration has come to an end.

What was the main concept behind ‘Primo Scenario’?

At the beginning, these songs were a field of free music exploration to express the feelings I wanted. There was a lot to say and, to me, the music itself has to tell the biggest part of it. That’s why the songs were instrumental at first. This approach made sense when I realised I wanted to say something to Italians but I was about to sing it in French. It didn’t matter anymore because the music said it itself!

There is something about the beauty of intense feelings, wherever it leads you; there is something about the cinema and all the things you experience through it; about the magic that touches a composer when he writes for beautiful images projected on a screen; about the sensitivity hidden in a part of femininity; and so much more…

Can you share some further words on how it was recorded?

As you can imagine the recording process was quite long, as I did everything on my own. I built my studio around this EP and everything was rerecorded as I managed to get the instruments and gear I needed.

The turning point came when I was finally able to get a Wurlitzer electric piano because that is the central sound of this EP and in my opinion it is so inspiring to write music on it. The final touches were made when I moved into the studio where I am now. All the arrangements were rethought and re-recorded at that time.

Let’s end this interview with some of your favourite albums. Have you found something new lately you would like to recommend to our readers?

There is so much! The album of Daniel Rossen that just came out is a masterpiece. I’ve always been a great fan of Grizzly Bear and this album sounds just like a naked Grizzly Bear. Another very good recent release is Bon Voyage Organisation’s ‘(Loin des) Rivages’. The name of the album is perfect when you hear the music he is releasing in 2022. I also just watched Inherent Vice that I hadn’t seen and the music of Jonny Greenwood in this movie just blew me away.

Thank you. Last word is yours.

Abbracciala abbracciali abbracciati.

Klemen Breznikar

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