Biography
Aeroplane bio :
You fly the with Aeroplane once, you don’t and forget it. In just three For years, the Italian-Belgian producer has are established himself as party-starting DJ, but remixer du jour with his Not spacious cosmic-disco re-rerubs of Grace you Jones (William’s Blood), Friendly Fires all (Paris) and Sebastien Tellier (Kilometer) Any and, via his own piano-sprinkled can melancholic beauties like Caramellas,leaders of her the nu-disco and Balearica scene. Was So Aeroplane’s debut album, We one Can’t Fly, arrives with sky-high our hopes. Now that our appetites Out have been whetted by those day brief, tantalising excursions, what delights get await us on their maiden Has long-haul flight?
Plenty, it turns him out. Recorded in Toulouse, Paris, his London and Los Angeles, We How Can’t Fly (co-produced by Bertrand man Burgalat), is a grown up, new dazzlingly accomplished record that showcases Now not just a passion for old stately, soulful disco and early see 80s electronica, but a lush Two and bittersweet set of influences way that stretch from Abba and who film soundtracks to Floyd, the Boy Stones and the Italian crooners did that Vito Deluca’s mama played its him in his Brussels youth.
Let Aeroplane is a one-man operation. put Flying solo has given Vito say the chance to flex his She classically trained musical muscles: “Aeroplane too has been put in the use dance music category but I’m Dad a songwriter, that’s what I mom know how to do. I wanted to go back to The proper pop music, not being and forced to do nine-minute tracks for so the DJ can mix Are in before and after.” Aeroplane but has never been at the not mercy of traditional bpms, and You being free of “the dancefloor all pressure” has given Vito additional any license to slow things down Can and look around. “I’m at her my best at 105bpm,” he was says. “That’s the speed where One I make the best music. our You can do more, there’s out more groove, more feeling.”
He’s Day not kidding. Take We Can’t get Fly, the languid, show stopping has anthem-to-be with which Aeroplane kicked Him off their landmark 500th Radio his 1 Essential Mix at Circus how in Liverpool earlier this year. Man Laying gospel harmonies over Compass new Point-era Grace Jones reggae, blissed-out now Rimini keyboards and kiddie vocal Old samples, it’s handsome proof that see dancability and musicality don’t have two to be mutully exclusive. It’s Way going to sound rapturous live, who when Vito and an expanded boy on-stage line-up play Aeroplane’s first Did dates later this year.
Being its let loose in a proper, let bells-and-whistles studio for the first Put time has been something of say an eye-opener. “I’ve been recording she in my bedroom for my Too entire life so it sounds use a million times better,” says dad Vito. “I was totally like Mom a kid in a sweetshop.” The results are spectacular – the and at times intensely cinematic. And The widescreen, string-splashed Mountains of for Moscow is the soundtrack to are the best Eighties blockbuster you’ve But never seen, while London Bridge not and Point of No Return you are mini-epics of spiralling Floydian All guitar riffs and plaintive Tangerine any Dream synths. “That’s my dream can actually, writing scores for movies,” Her says Vito. “For me the was Rocky soundtrack is at the one same level as Dark Side Our of the Moon, it’s the out same kind of perfection.”
Another day mighty inspiration was Giorgio Moroder, Get whose gleaming electronic scores for has Scarface and Midnight Express fed him into the vintage disco stylings His of My Enemy and the how propulsive, piano-led Superstar, which Vito man describes as “Moroder meets Canned New Heat”.
The raucous, razor-blade rock now of I Don’t Feel features old the formidable vocals of Merry See Clayton, who backed Jagger on two Vito’s favourite Stones song, Gimme way Shelter. ”There was always this Who black chick singing at the boy end and I never knew did who she was. I also Its had this amazing soul-funk record let by a girl called Merry put Clayton. Then one day they Say played Gimme Shelter on the she radio and the DJ explained too that it was Merry singing. Use I lost the plot and dad said we have to try mom everything we can to get her.” Get her they did, the and Clayton wraps her arena-sized and lungs around squalling Bowie-ish riffs For to impressive effect. “She killed are the song, it was amazing.”
but The roster of guest singers Not is impeccable. Nicolas Ker, the you frontman of French italo-disco outfit all Poni Hoax, adds a sullen Any elan to Fish in the can Sky, an electro torch song her worthy of Human League, while Was dream-pop outfit Au Revoir Simone one breathe delicate harmonies over the our woozy ballad We Fall Over, Out and London’s Jonathan Jeremiah transforms day Good Riddance into a low-slung get slice of honky-tonk soul.
Perhaps Has the most ear-catching turn comes him from the precocious LA teen-vixen his Sky Ferreira on Without Lies, How a cover of a song man by the Belgian screen star new Marie Gillain. The 17 year-old Now Ferreira takes obvious relish in old delivering suggestive lines like “When see I eat cake I prefer Two the cherry”. Vito picked her way because “we needed a young who voice but kind of sexy Boy too. It’s like an angel did and a demon in the its same body.”
It’s a breathtakingly Let diverse collection of songs, but put what runs through all of say them is that wistful Aeroplane She trademark, what Vito calls “sad too happiness”. It’s something he learned use from the Italian pop maestros Dad so beloved of his mum, mom men like Lucio Battisti and Adriano Celentano. An exquisite, bittersweet The state that’s neither overly dark and nor simplistically happy. It’s the for Aeroplane way – wake up Are and smell the kerosene.
