Bedsore / Mortal Incarnation Split with Bedsore
Art: Manuel Tinnemans
Bedsore is the shape that Jacopo Gianmaria Pepe and Stefano Allegretti gave to their multifaceted musical concept, oneiric and atmospheric, raw and violent. In 2018 the first demo saw the light, finding the first success and exhuming the band from the vault; in the same year, Giulio Rimoli and Davide Itri joined the band, completing the lineup and giving their contribution to the musical arrangements as well as to live apparitions.
After a first bunch of shows in their homeland Italy, Bedsore, as a four-piece, recorded the full-length ‘Hypnagogic Hallucinations’, an intimate journey across the realms of dream and death, released on July 24th via 20 Buck Spin. The use of synths and keyboards, as well as harsh vocals and brutal riffing, provides a gradual evolution toward new forms of old-school Death Metal, giving at once great relevance to dreamy and dark atmospheres and providing the idea of a sleep tormented by blood-curdling dreams. Through ‘Hypnagogic Hallucinations’, which represents the first step towards developing a signature sound, Bedsore reaches a broader audience thanks to its feature in magazines like BrooklynVegan, Decibel, and Metal Hammer.
After several shows, opening for bands such as Malevolent Creation and Hideous Divinity, in 2022, Bedsore can finally join forces with Kill-Town Bookings to present their music live all around Europe. Simultaneously, the release of a split album with the Japanese act Mortal Incarnation takes place, again with the involvement of 20 Buck Spin. In this new effort, the Italian quartet seamlessly melds astral Black Metal, Death Metal, and 70s Progressive straight out of a planetarium laser show, displaying the rapid evolution of a band with a seemingly infinite trajectory of creativity and imagination, with a continuous twist into unconventional new directions of cinematic cosmic vastness. Bedsore live shows aim to convey this kaleidoscopic musical frame into a unique visual and aural experience, all-encompassing for the audience and the four musicians. Thus, listeners are advised to buckle up since the journey has just begun.
It’s more complex to define our music by mentioning our influences; it would undoubtedly be simplistic. The musical proposal revolves around a mix of obscure metal with a strong progressive approach. Still, at the same time, each conscious music should be able to transcend definitions behind musical genres and accept the concept of actual music, capable of expressing itself as it is. And this is particularly true of our music: of course, it’s nestled in certain aesthetic canons but remains, at the same time, as much personal as possible.
Our most recent release is the split album with the Japanese death-doomers Mortal Incarnation. Our site consists of a more than sixteen-minute suite, where we laid the foundations of the sound that will characterize our future full-length. Musical elements are enriched by the use of vintage synthesizers, analog machines, and orchestral-like arrangements, delivering a work of both composition and extremely careful production. The mix and master have been entrusted to the care of Damian Herring at Subterranean Watchtower Studios.
The suite song ‘Shapes from Beyond the Veil of Stars and Space’ speaks about the relation between life and death through accepting the loss and how we can perceive ourselves inside time and space during this voyage of acknowledgment. There’s no visible correlation between music and lyrics in the various steps of the work. Still, they match and remain aligned, as the emotions and feelings at the basis of the creative process are precisely the same, so the artistic aim has a common root.
In general, these topics are strictly linked with the poetry of the band, as the whole image is inspired by dream-like visions, lysergic states, and grotesque experiences, suggestions that can often become apparent even in forms of art different from music, such as cinema (essay, horror), or painting, two of the primary sources of visual inspiration for us. So overall, the contents are always personal, but the ‘Dream’ represents one of the central themes, conceived as an experience of inner research. As with our worst nightmares, there is no logic to dictate the evolution of the story, and that’s what we want for our music: an intimate journey through the realms of dream and death of the human soul.
We’ve mentioned what pushes us to feel our lyrics and be inspired in an extra-musical context. Concerning the music, the one we create in Bedsore can be intended as a visceral reaction, expressing what the dominion of words cannot reach. We are close to experiencing a form of otherwise unreachable wellness and transcendence during the creative process. That makes sense in a context in which writing music can become the way to unchain the boundaries coming from the traditionalized structures of everyday life. By writing music, we have a story but use musical terms.
One of the themes we’ve always believed recurrent in our civilization is the fact that progress can only be associated with the contamination of influences and experiences, and that said, referring to a social conception of evolution. This is especially true in music, as the last fifty years of music can amply demonstrate, which has seen its aesthetic canons being erected and deconstructed exceptionally quickly. When we compose music, we try to follow this stream of collective thought and feeling as a part that is moving simultaneously with the whole: we’re humans, so, therefore, we make music.
We started approaching music at an early age, probably thanks to our fathers and the music collections we had access to, and then we began to study the rudiments of music, each of us in our way. Moving to heavy music shores was extremely natural during our growth. Also, it marked an increased awareness of how the definition of heaviness sometimes can be cross-cutting or even hidden in not-heavy acts. However, we still feel very tied to listening to such as Area, Goblin, Genesis, or Emerson Lake & Palmer in our conception of song structures, that heritage is still predominant. Later in the years, there have been some marking events in our lives that led us to bond even more with musical creation, which made us the musicians we are today. In light of what we’ve already mentioned, we can’t do anything but consider music a sensory experience beyond spoken language. Different terms allow us to achieve otherwise inaccessible sensory nuances. That’s why music is fundamental in our lives.