LP, one-time edition of 250 copies, pressed to 180g black vinyl and housed in a pro-printed jacket contained in a silk-screened PVC sleeve. Die Schachtel Records presents Ifigenia/Oreste, a new vinyl LP by celebrated Italian composer Paolo Spaccamonti. This album marks the seventh installment in the label's renowned Decay Music series, which has become synonymous with deeply emotive, abstract, and electronic/ambient music, which has so far featured works of such names as Stefano Pilia, Giovanni di Domenico, Sandro Mussida, Vértice, Damavand, and Claudio Rocchetti. Aim of the series is composing a fascinating scenario of the most interesting names of experimental musicians -- mainly of Italian origins -- working at the intersection of sound and music, abstract and visual, storytelling and abstract composition. Paolo Spaccamonti has long been a significant figure in the contemporary music scene, known for his ability to bridge the worlds of instrumental, electronic, and experimental music. Composed by Spaccamonti, Ifigenia/Oreste is the original score for the theatrical production IFIGENIA/ORESTE, directed by Valerio Binasco and produced by Teatro Stabile di Torino. The music, both haunting and subtle, mirrors the play's minimalist and intense staging, immersing listeners in an evocative soundscape that blends ambient textures with guitar-driven melodies. The music was recorded and processed by Filippo Conti, with additional production and mixing by Stefano Pilia. The vinyl's design has been crafted by Bruno Stucchi of Dinamomilano, making this release a fusion of sound, visual, staging and cultural reference. In reflecting on his collaboration with director Valerio Binasco, Spaccamonti said: "From the first meeting with Valerio, it was clear that we aimed to create a production stripped of any unnecessary stylistic embellishments. 'Ifigenia' and 'Oreste' had to be severe, devoid of visual distractions, simple yet extreme in its own way. I sought to follow the same path with the music. The foundation is always the guitar, but I wanted to avoid overloading it, either harmonically or sonically. Sometimes, I treated it like a fragmented background noise; other times, I ventured into more aggressive, melancholic, or even melodic terrains, but always in a very human way."