“…But the true stars of the show are the incredible, kinetic cinematography and the score by Yoshimitsu Awazu and Davide Perico. The camera glides over the snow-strewn lands as Peter chases voices only he can hear. Dare, Gaviola, and Semana visually put the audience in the same discombobulated, intense headspace as Peter, meaning every shot mirrors his emotional state perfectly. The musical compositions are the perfect complement to the striking visuals, as they too play on the uncertainty of what is or is not real. The short is simply breathtaking to behold because of these elements working in tandem.
Peters Rd might not have the most original story, and some of the dialogue recording is iffy. But, thanks to strong directing and a decent cast, the audience still invests in the main character’s plight. Due to exemplary cinematography and a rousing score, the mystery-thriller goes from above average to almost great, and anyone interested in mysteries or supporting indie productions would do well to seek the film out as soon as possible…”

Dark Hall 2 is a brooding and atmospheric piece that utilises electric guitar to create a dystopian ’80s soundscape. It invokes urgency and the chase. It will leave you breathless…” (Graheme Smith-York Calling)

“Some great stuff here. Fantastic ambient sounds, great production, cool relaxing vibe and some epic instrumentation in there…” (Synthwave Sounds)

“Cinematic, dramatic and beautiful…” (Zero Music Magazine)

“This a very inventive and captivating piece with gorgeous instrumentation, which would be perfect for almost a Toy Story like theme” (Vincent Corver)

“This is amazing, totally could work as a background song in a cartoon on a mystery moment or with the villain moment! Nice and magical! Really good work. Bravo!” (Rodosthenisdion)

“Sounds beautiful! It’s very well orchestrated. Great job!” (Invadable Harmony)

Modern look on life has transformed drastically since the creation of digital. Digital imagery
is both existent and non-existent at the same time. It bases its origins from the surface of the
screen, not from the material world. You can see it, it can have an impact on your
consciousness, but it doesn’t have physical embodiment. It’s enough to press the button to
completely vanish it, like it never existed.
At the same time digital information has no age, its quality doesn’t decline with time, it’s
basically immortal in our coordinate system, but it has worked out its own form of death:
glitching, unregulated visual deformations, pieces of information randomly gone missing.
All these phenomenons are as vast and hard to process as life itself, so eventually people
started to build up theories upon it, that the world itself is a somewhat of a digital projection,
and human life is just a partial beam of pixels trapped in it.
Music video “Space D” by Davide Perico is a visual fantasia generated by the author’s
consciousness based on his auditory associations on the subject. There’s hardly anything
more representing humans than the eye image, and by projecting it on multiple constantly
changing surfaces of a digital maze, the author illustrated his personal anxious experience.
It’s basically a metaphysical matrix afterlife concept.
He also emphasized the paradox: origins of digital come from humans, and humans have a
digital origin themselves. It’s a mystery we are yet to unravel, but Davide Perico made a
strong attempt towards it.
(Alexandra Dahnovskaya)

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