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  - SCORPIO was born from a very clear sensation: frustration.
  I worked on it several times without coming out of it; I tried to load it with layers, then to lighten it .. nothing. I made at least 10 versions: drum'n'bass, dubstep, electro, EBM, industrial… ZODIAC is a perfect single, unassailable. It was thanks to the other remix, “GEMINI”, that I found the right freedom. In “GEMINI”, in fact, I started from the vocal line; for “SCORPIO” I concentrated all my attention on the instrumental… an authentic missile: the drumming, the bass line, the guitar inserts, the pulsating synths… all together for a backing track that doesn't give up for a moment.
  Listening and listening again without vocal parts I found the "crack" as I call it, the point from which to slip in to take the shape of the piece, to wear it. This was a first big step. The next was figuring out how to move with this "sonic suit" on, without risking tearing it. Here was the real miracle… there were no possible break points: it only happens when a piece is perfect. As much as I forced it into strange movements, the track remained consistent with itself, both keeping samples of the various instruments and manipulating them.
  The last intaglio of the remix, the obsessive arpeggiator that starts in the second minute, I wrote it when I realized that this phrase didn't go out of my head: "When everything is Nothing Are you lost, lost like me?" .. a chase to get lost… an incredibly lyrical and powerful concept.
  As for "GEMINI" the video did the rest: the dynamics of the chase directed the "colors" and the atmosphere of the remix. I emphasize it because it is a fundamental component of the aesthetics of TTH, capable of interpenetrating sound and visual in their releases.
  It was so cool to work on this track that I hope the band will trust me in the future.
  
  - The approach and inspiration for Zodiac GEMINI remix were complex: how to manipulate a practically perfect piece? The track is among the best things released in recent years; therefore, finding the sound key was not immediate. I tried to start from an unusual point of view: I watched the video, also of impact, dozens of times, making it loop without volume, concentrating on the text and images.
  The "vision" of the remix then began to materialize: a sort of theme for a "season finale" of a TV series, meaning the protagonist of the video as if he were a Daredevil, victim and accomplice of the feeling described in the piece.
  So I started from Andrea's voice and timbre alone, isolating it from the other instruments; the track, a very calibrated arrow, had an incredible melodic power. By combining the two ideas, the visual and the musical one, the mechanisms began to turn: I started writing the scores of the orchestra (deliberately digital to respect the sound styles of TTH) and layering the track with analog synths.
  During the work I changed the chords of the piece, in an attempt to make the “color” of the whole and the dark beauty of the melody perceive as best as possible. The first version was like this: vocals, orchestra, synths. The comparison with the band was essential: they encouraged me to add pulsating and beat elements to the whole, to add dynamics and expressiveness. So I tried different solutions and got to the final mid-tempo. From there we got to the final version.
  Getting into pieces like this is always a blessing: stimulating, beautiful and therefore able to push you to do more by changing the shot.
  
  Putano Hoffman ... more
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