Burning Bright: an MTV requiem playlist by April Clocks

April Clocks – Rituals Press Shot 2 (Credit Marta Betti)

Music

Based out of the Adriatic climes of Rimini in Northeast Italy – the picturesque birthplace of director Federico Fellini – Italian artist Danilo Betti has been quietly sculpting mesmeric, absorbing forms of electronic music as April Clocks since 2014.

Turning to the development of April Clocks, after a period running the Mixed Up label and record store, Betti has released three albums to date, beginning with ‘Deaf Youth‘ in 2018, an album of contemplative Warp-influenced synthesis, evoking Seefeel and Boards of Canada if reimagined with unique grit, gauze and minimalism; all dilatory electro, blue-grey hues, and remote modular echoes.

After a period of hiatus, Betti has returned with a prolific run of releases in the last few years, with ‘It Takes Time‘ in 2022, and ‘Rituals‘ a year later.

Across this output, Betti has evolved the soundworld of April Clocks, enhancing those earlier experiments with deeper shades of abstraction, underpinned by drone, ambient and shoegaze. On the project’s latest record ‘Rituals‘, Betti seems to capture the slow descent of a dream state, with the coarse rhythms of his early material now replaced with immaculate, otherworldly soundscapes of radiance and reverie.

Ethereal yet potent and memorable, ‘Rituals‘ is situated somewhere between the evanescent emissions of Grouper, the shimmering resonances of HTRK’s ‘Over The Rainbow’ OST, and the fervent ambient melodramas of Not Waving, Romance and the Ecstatic Recordings roster. Yet even with these comparisons, there’s an elusive, special signature distinguishing this music. Suffused with romance and melancholy, and centred on ideas of memory and the subconscious, the music of April Clocks has a way of getting under your skin; a listening experience both blissful and haunting.

April Clocks Promo Shoot Dublab – 1000×1333

Considering our fondness for the project, we asked Danilo for a playlist that provides some greater insight into his music, and appropriately enough – for a project that seems intently engaged with ideas of memory and remembrance – he’s responded with a nostalgic selection, based on his exposure to the alt-rock played on MTV in the late 90s and at the turn of the millennium. Described as a requiem to his youth, it’s a refreshing snapshot of an innocent time, documenting revelatory early discoveries, ranging from adolescent encounters with Nine Inch Nails and Depeche Mode to enduring formative experiences listening to influential Italian compatriots like Verdena.

Read Danilo’s introduction to the playlist and check his selections below.

‘Over the last two years, and especially since the release of Rituals, I’ve found myself growing weary of the electronic and experimental music that has filled my ears for the past two decades. [From listening to a mix of] experimental and functional electronic music, I reached a point where I needed something different to rejuvenate my love for music. I turned back to the music that defined my youth — let’s call it alternative rock, or perhaps even MTV music. This is a selection of tracks I’m tied to from that era. Enjoy.’

For more on April Clocks, head over to the project’s Bandcamp HERE.

Topics

2000s 90s Adriatic Alt rock Ambient April Clocks Boards of Canada Deftones Depeche Mode Drone Electro Federico Fellini Foo Fighters Italy Mixed Up MTV Nine Inch Nails Rimini Seefeel Shoegaze Smashing Pumpkins Union Editions Warp records

LISTEN

Nine Inch Nails - The Perfect Drug (January 1997)

This is the track that shattered and redefined everything in my mind and body at 13. What else can I say? It’s a Lynchian fever dream of drugs, love, absinthe, and the pounding rhythms of drum & bass. Throw in the sexiest version of Reznor — complete with his brooding intensity — and you have the perfect concoction of adolescent chaos.

This video wasn’t just a visual and auditory experience; it was a rite of passage into the darker, more thrilling side of music and life. While shoegaze and trip-hop seems everywhere these days, let’s wait on this new NIN album he promised some time ago.

Nine Inch Nails - The Perfect Drug (January 1997)

This is the track that shattered and redefined everything in my mind and body at 13. What else can I say? It’s a Lynchian fever dream of drugs, love, absinthe, and the pounding rhythms of drum & bass. Throw in the sexiest version of Reznor — complete with his brooding intensity — and you have the perfect concoction of adolescent chaos.

This video wasn’t just a visual and auditory experience; it was a rite of passage into the darker, more thrilling side of music and life. While shoegaze and trip-hop seems everywhere these days, let’s wait on this new NIN album he promised some time ago.
Foo Fighters - Everlong (August 1997)

Caught in the throes of a languid summer morning in Marina di Ravenna, my younger brother and I stumbled upon this gem on MTV, back when it actually contributed to our cultural education. We were on vacation with some family friends, crashing in a spacious yet charmingly dilapidated beachfront apartment. The surreal and bizarre narrative of the ‘Everlong‘ video dug its claws into my impressionable young mind.

I became utterly obsessed, even though I didn’t understand a single word of Dave Grohl’s impassioned screams. It was like deciphering a dream you couldn’t remember but couldn’t shake off either — a mesmerizing blend of absurdity and raw emotion that perfectly captured the confusing, exhilarating essence of youth.
The Smashing Pumpkins - Ava Adore (June 1998)

At 14, the chaos of high school began, ushering in a tidal wave of new scenes and bands that I had been blissfully unaware of until then. While I’m pretty sure I had a casual fling with Corgan and co years earlier with ‘1979’ (which I didn’t pay much attention to), ‘Ava Adore’ became a staple of my lunchtime routine, thanks to my parents’ brilliant idea of leaving MTV on all day. This sounds cool in theory, but the reality was a bit different.

I vividly remember cringing at the provocative nude scenes and Billy Corgan’s ghostly makeup, hoping no one would walk in and catch me engaging with this awkward, gothic tableau. It was a daily bombardment of melodramatic visuals and haunting melodies that, despite my embarrassment, slowly etched itself into my teenage psyche.
Depeche Mode - Only When I Lose Myself (September 1998)

Same lunchtime ritual, different story. My father had a collection of copied tapes in his car, one of which was labelled ‘Depeche Mode – Ultra’, released just a year before this song, part of the 1986-1998 singles compilation. So, Depeche Mode wasn’t exactly uncharted territory for me. I had already been drawn to the enigmatic video for ‘Home’ and Martin Gore’s majestic performance.

However, ‘Only When I Lose Myself’ stood out as the true masterpiece. The video was omnipresent, seeping into my daily life with its bizarre and surreal imagery. The peculiar lighting and stark contrast gave it a haunting, otherworldly feel that eclipsed even the strangeness of ‘Home’. And let’s not forget the semi-industrial outro, with Dave Gahan at his blackest and most new romantic, delivering a performance that was both chilling and captivating. It was a slice of avant-garde brilliance that cemented Depeche Mode’s place in my teenage soundtrack.
Deftones - Change (In The House of Flies) (May 2000)

Somehow, despite the profound impact Depeche Mode had on me, I found myself knee-deep in the nu metal craze. It was a significant part of my early youth, and I don’t regret a single moment spent thrashing in the pit. However, Deftones were always an outlier in this genre — a different story altogether. They exuded an aura of being the underdogs and the melancholic misfits, not too polished, not too concerned with mainstream appeal, yet undeniably woven into the fabric of that era.

‘Change (In The House of Flies)’ was an anthem for everyone in my circle. I vividly remember the day we descended upon our local record store in Riccione, demanding six copies of ‘White Pony‘. My copy still holds a place of honour in my beloved Opel Astra. The song’s brooding intensity and haunting lyrics perfectly encapsulated the angst and turmoil of our teenage years. Deftones managed to stand out, not by being louder or faster, but by being more authentically raw and emotionally resonant.
A Perfect Circle - Judith (July 2000)

I didn’t like A Perfect Circle at first, and I had no idea who Maynard (James Keenan) was. Ah, the dark ages before the internet, when discovering new music relied on sheer luck and word of mouth. But the ‘Judith‘ video stuck in my memory, and I later found out it was directed by a young David Fincher — yes, the same genius behind Fight Club, which was quickly becoming a cult classic among young, restless souls. The video’s raw intensity and stark visuals were a revelation. YouTube user @RockandrollCanuck nailed it with their comment: “Paz tying her hair during the breakdown is one of the greatest moments in music video history.” Truer words have never been spoken.
Dredg - Same Ol’ Road (October 2002)

The internet wasn’t exactly a beacon of information in 2003, at least not reliable enough to form a first impression before splurging at the record store. Discovering new music was a gamble, and I often found myself playing musical roulette. Drawn by Interscope’s solid reputation and the dreamy cloud cover art, I picked up Dredg’s album blindly, clueless about what awaited inside. A few days later, stumbling upon the video for ‘Same Ol’ Road’ on MTV, I felt like I had a sixth sense for good music. Well, sort of…it was a moment of validation in my risky musical ventures. Too bad they lost their way over time. This unique blend of alternative rock, metal, and even drum and bass percussion was ahead of its time and still resonates today.
Verdena - Luna (January 2004)

My beloved Verdena. If Nine Inch Nails were the spark that ignited my musical journey, then Verdena deserves the honour of closing this selection. They debuted in 1999, gracing MTV with Nirvana-like choruses and a heavy dose of existential angst. However, they quickly transcended their grunge roots, evolving into a unique fusion of progressive, layered, and intense rock. By the time they released their third album, ‘Il Suicidio del Samurai‘ in 2004, they had firmly established their own identity.

‘Luna’ was probably my swan song to alternative rock before I plunged into the world of electronic music. Yet, to this day, Verdena hold an unparalleled status in the annals of Italian rock. They are one of the standout moments in the genre’s history, with subsequent albums only cementing their position as the true kings of Italian rock. Their ability to evolve and innovate while staying true to their core sound is a testament to their enduring brilliance and honesty.