The soundtrack of Fellini Satyricon, composed by Nino Rota, is a musical journey that accompanies and amplifies the disorienting, dreamlike, and fragmented experience of the eponymous film by Federico Fellini (1969), loosely inspired by the unfinished novel by Petronius Arbiter.
Fellini Satyricon is not a linear narrative, but a series of visions that flow like a hallucinatory dream set in ancient Rome. There is no historical or documentary intent: Fellini stages a sensual, decadent, symbolic world, populated by deformed creatures, pagan rituals, and unrestrained desires. The story, which revolves around Encolpius, Giton, and Ascyltus, is deliberately broken, incomplete, and suspended?just like the text it draws from. The film challenges the viewer, disorients them, and drags them into an archaic time that resembles the unconscious more than the historical past.
In this context, Nino Rota's music does not serve as a mere commentary, but becomes an integral part of the visual narrative. Rota abandons classical melody and constructs an archaic and abstract soundscape, made up of atonal instruments, tribal percussion, dissonant choirs, and unclassifiable sounds.
Rather than directly quoting music from ancient Rome (for which no reliable sonic sources exist), Rota imagines an ancient, primitive, mysterious sound. The result is something profoundly original: a ritualistic hybrid between fantastical ethnomusicology and the theatre of the absurd. The music thus becomes an alien voice, embodying the other, the ancient, the uncanny.
Rota alternates unsettling moments with hypnotic and solemn passages. The music oscillates between the sacred and the profane, the playful and the terrifying?just like the film. The use of silence and natural sounds (breathing, chanting, rustling) heightens the sense of suspension. There are no easily memorable themes: the soundtrack lives more in its sonic matter than in melody.
Fellini Satyricon is a work that rejects every narrative and aesthetic convention, and Nino Rota’s music is its perfect reflection: experimental, disturbing, evocative, and uncompromising. It is one of the composer’s boldest works, far removed from the lightness that often characterizes his more famous scores (such as those for La Dolce Vita or Amarcord).
In summary, the soundtrack of Fellini Satyricon is an avant-garde masterpiece, capable of evoking a world that never existed, but that?thanks to Fellini and Rota?continues to live in the cinematic imagination as an ancient dreamlike vision. Now available on transparent red vinyl / 180 grams + CD, limited numbered edition of 500 copies. Includes an insert with liner notes by Massimo Privitera of colonnesonore.net.
トラックリスト
Side A A01 - KILL THEM ALL! (Main titles Instrumental) A02 - NELLA MOSCHEA A03 - HIASMINA A04 - ALLUCINAZIONI A05 - INCHIESTA A06 - KHANPUR
Side B B01 - TO JEAN B02 - SENZA TREGUA B03 - IL DESERTO B04 - SOUK TAWIL B05 - KILL THEM ALL! (Vocal version)
「キル！」のサウンドトラックは、ベルト・ピサーノがジャック・ショーモンと共同で作曲した、グルーヴ感、緊張感、そしてサイケデリックさが凝縮された作品です。1970年代のイタリア映画音楽が、ジャズ、ファンク、ロック、そして実験的な要素を巧みに融合させ、独自の言語を生み出した見事な例であり、映画鑑賞にも、単独で聴くにも完璧な作品です。
トラックリスト1971年にロマン・ガリー監督が手掛けたこの映画は、エキゾチックで曖昧な雰囲気を持つ国際的なスリラーで、一部はインドで撮影されています。物語は謎と裏切りに満ちています。スティーブン・ボイド演じる主人公は、秘密任務に就くイギリス人将校で、退廃的で官能的な植民地時代を背景に、スパイ活動、裏切り、そして殺人の渦に巻き込まれていきます。
サウンドトラックは、この魅惑的で曖昧な雰囲気を完璧に反映しています。ピサーノとショーモンは、ワウワウギター、脈打つベースライン、そして力強いドラムが奏でる、ザラザラと張り詰めたファンキーなサウンド、洗練されたがらも衰えゆくエレガンスを想起させるジャジーでラウンジな雰囲気、不気味なストリングスとベールに包まれたブラスが奏でるミステリアスなオーケストラライン、そしてインドの舞台を反映した歪んだオルガンとエキゾチックな楽器をフィーチャーしたサイケデリックな旋律など、様々な要素を巧みに織り交ぜながら演奏する。
メインテーマは魅惑的。しなやかなベースライン、催眠術のようなグルーヴ、そしてノワールとエロティシズムの狭間で揺れ動くムード。音楽は物語の緊張感を高めつつ、単体でも非常に楽しめる。レアなグルーヴ音源のアナログレコードという特性もあって、このサウンドトラックはコレクターの間で高い人気を誇っている。
長らく入手困難と思われていた「Kill??!」は、スパイ映画やエクスプロイテーション映画におけるイタリア音楽の最高傑作の一つとして再評価されている。わずかな音符で陰謀、欲望、そして危険に満ちた世界を描き出すその力は、実に印象深い。
透明な黄色の180g重量盤LP+CDで、限定500枚のナンバリング付きエディション。
The soundtrack of Fellini Satyricon, composed by Nino Rota, is a musical journey that accompanies and amplifies the disorienting, dreamlike, and fragmented experience of the eponymous film by Federico Fellini (1969), loosely inspired by the unfinished novel by Petronius Arbiter.
Fellini Satyricon is not a linear narrative, but a series of visions that flow like a hallucinatory dream set in ancient Rome. There is no historical or documentary intent: Fellini stages a sensual, decadent, symbolic world, populated by deformed creatures, pagan rituals, and unrestrained desires. The story, which revolves around Encolpius, Giton, and Ascyltus, is deliberately broken, incomplete, and suspended?just like the text it draws from. The film challenges the viewer, disorients them, and drags them into an archaic time that resembles the unconscious more than the historical past.
In this context, Nino Rota's music does not serve as a mere commentary, but becomes an integral part of the visual narrative. Rota abandons classical melody and constructs an archaic and abstract soundscape, made up of atonal instruments, tribal percussion, dissonant choirs, and unclassifiable sounds.
Rather than directly quoting music from ancient Rome (for which no reliable sonic sources exist), Rota imagines an ancient, primitive, mysterious sound. The result is something profoundly original: a ritualistic hybrid between fantastical ethnomusicology and the theatre of the absurd. The music thus becomes an alien voice, embodying the other, the ancient, the uncanny.
Rota alternates unsettling moments with hypnotic and solemn passages. The music oscillates between the sacred and the profane, the playful and the terrifying?just like the film. The use of silence and natural sounds (breathing, chanting, rustling) heightens the sense of suspension. There are no easily memorable themes: the soundtrack lives more in its sonic matter than in melody.
Fellini Satyricon is a work that rejects every narrative and aesthetic convention, and Nino Rota’s music is its perfect reflection: experimental, disturbing, evocative, and uncompromising. It is one of the composer’s boldest works, far removed from the lightness that often characterizes his more famous scores (such as those for La Dolce Vita or Amarcord).
In summary, the soundtrack of Fellini Satyricon is an avant-garde masterpiece, capable of evoking a world that never existed, but that?thanks to Fellini and Rota?continues to live in the cinematic imagination as an ancient dreamlike vision.
Now available on transparent red vinyl / 180 grams + CD, limited numbered edition of 500 copies. Includes an insert with liner notes by Massimo Privitera of colonnesonore.net.
Side A
A01 - KILL THEM ALL! (Main titles Instrumental)
A02 - NELLA MOSCHEA
A03 - HIASMINA
A04 - ALLUCINAZIONI
A05 - INCHIESTA
A06 - KHANPUR
Side B
B01 - TO JEAN
B02 - SENZA TREGUA
B03 - IL DESERTO
B04 - SOUK TAWIL
B05 - KILL THEM ALL! (Vocal version)