Joseph Schiano di Lombo, the musician who whispers in human ears

Joseph Schiano di Lombo and his cat Moscow, in Pantin, January 28.

When he receives us in Pantin’s apartment where he lives in a shared apartment, Joseph Schiano di Lombo is accompanied by a cat, Moscow, who will remain on his knees throughout the interview. However, it is the dogs that are at the origin of this first album, Niche music, scheduled for 2 April: an instrumental record released on the collection Meditations from the French label Cracki, inspired by both Angelo Badalamenti’s soundtracks and those of bad TV movies, the work of American researcher Donna Haraway, a pioneer of cyberfeminism, on human-animal relations, and memories of Maori, the Labrador that Joseph grew up with.

Mixing the noble with the trivial, the conceptual with the sensual, poetry with the pun: a common thread that links all the works of the thirty-something Frenchman who, between becoming a designer, musician, author or performer, has not chosen.

Attachment to multidisciplinarity

Younger, Joseph Schiano di Lombo was destined for a career as a classical pianist. In Chambéry, where he grew up, his father, an EDF agent, and his mother, a laboratory assistant, listen to Jean-Jacques Goldman, Véronique Sanson, Eric Clapton and Fleetwood Mac. Their son, for his part, gets drunk on twelve-tone or spectral music. Arrived in Paris, he tries to integrate the Conservatory, does an internship at the Normal School of Music, but his motivation crumbles after a succession of tendonitis.

“Me, I do a bit of everything and nothing, we don’t know. »Joseph Schiano di Lombo

Joseph then turned to drawing, his second passion, joined the National School of Decorative Arts and offered, for his graduation diploma, a Fugue without subject mixing graphic works (Fig bacon, a trace of crushed fruit on paper, or some Phantoms, taken in empty photo booths) and performances (he asks the jury to place, in a Octet for solo piano, stickers on the keyboard, and improvise accordingly).

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A true manifesto of its attachment to multidisciplinarity: “The fugue is the art of mixing different voices. For me, it’s music, drawing, writing… Sometimes you hear one part more than another, it’s the “subject”. But it all forms a harmony. In France, doing several things at the same time, we find it selling, but we rarely forgive it. I do a bit of everything and nothing, we don’t know. But I want to continue, even if I am taken for a conjurer. ”

Humor: an essential component

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