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ART IN RELEASES
"qualcosa di simile al nero" in italian means "something close to black".
It is a two part improvisation/compositon. Those two pieces electronic flux, with elements of old "music concrete"
and song oriented drones and beats."
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I started playing drums when I was 15. I had some skater friends who needed a drummer for their no-fx/rancid/descendents style punk band. That's how I started. The band was called Wallride.
I played the first concert at a party at my high school, then the second one in a pub called "downtown" in the countryside of Verona.
From then on I've never stopped playing. I kept on playing with D.I.Y. hardcore punk bands for a few years, then at the end of the 90's I switched to other kind of "rock" music.
I lived in Milan for two years when I was 19-21. There I did the accademy of fine arts. There was were I first met experimental music, in the wider sense of the word "experimental".
I bought my first electroacoustic cd's at Giuseppe Ielasi's distribution in Monza (Steve Roden mini-cd "the radio"), met people like Renato Rinaldi and Alessandro Bosetti and started making music
with electronics and various means. I did my first electroacoustic records in 2001, only with a mini disc and a multitrack sofware, Cool Edit pro, using no drums at all.
Then between 2000 and 2006 I spent a lot of time in Bologna, with Valerio Tricoli, Claudio Rocchetti and Stefano Pilia. There I recorded my second solo cd, released for Hapna in 2006.
I did my first "real" european tour with my electroacoustic solo together with 3/4hadbeeneliminated in 2006.
I've also had played for seven years with an italian rock band, called Rosolina Mar, with which I had a lot of fun.
In 2008-2009 I started numerous international collaborations with David Grubbs, Stefano Pilia, Mike Watt, Attila Faravelli, Machinefabriek, Ignaz Schick among others.
Than two years ago I decided to move to Berlin, but that happened only last year, on June 2011.
I started mixing drums and electronics back in 2004.
I was not playing beats though, I really was into european reductionism at that time. Then after a heavy dose of old great dub I tryed to add beats, using a vocabulary
of reductionist style sounds applied to groovy music.
The set I've used here for "qualcosa di simile al nero", is composed by a nord modular
synthesizer, a four track looper, an iPod with three samples, and mixer.
Your sound as a drummer is different
if we think in many of the drummers and tendencies working around minimalism
and reduccionism in the well-known "Echtzeitmusik" scene in Berlin...
I would say that I tend to be more a composer than an instrumentalist, which means I think about structures more than only about beats and sounds.
I enjoy playing music thinking as a producer.
For Audition I put together my electronics, and made something with them.
I like narrative structures, I like to tell stories with no words, and that's what I've
been tried to do with this release. In fact I was thinking about doing something which
puts me in the situation of a dub-live set instead of an electroacoustic live set.
Everything is made live tough, except a couple of pre-recorded sounds that I manipulate.
Real time music is the only one I can deal with, I'm still a punk hardcore guy
at the end, and still ready for a stage diving at a Gorilla Biscuiz show!
When I start a new recording I just don't think, I only make music.
I've just finished a record released on last February on ROOM40, called WEGE. That album
took a lot of efforts, and three years of work.
I started working on it only thinking about the musical compositions, then the process
of recording changed the music and the approach to the live set as well. It is a continuous
work in process.
As performer I search intimacy, mistery, and something on the edge of melodic and radical experimental music.
I think first as a composer, than as a producer, and then as a musician.
I mentioned c-schulz & hajsch CD before, it represents well what I want to say here
The interaction between improvisation and composition:
When I play solo I usually collect a sound vocabulary first, than I use to create musical structures. In fact I play "songs".
My last solo live set lasts between 15 and 40 minutes, and has 3-4 long songs. You can feel that I'm playing sort of songs, even if I improvise a lot with them.
When I play with other people, I feel that I can improvise from scratch, and to create musical structures only when required.
I also have to say that I write proper compositions for bands, like the one with Mike Watt and Stefano Pilia (Il sogno del Marinaio,
for the Moondog tribute trio Hobocombo) and for several other quasi-"rock" related
My life is music, in fact I'm somehow trying to keep distance from it!<(/p>
My influences? Well, I can tell you as a musican Mike Watt is one of my first font
of inspiration, but in general I would say all other musicians I collaborate with are
font of inspiration.. Then yes, there is Ennio Morricone, King Tubby, etc, etc.
When you perform solo on what do you think?
Where to start?
I think that I have to start with a certain sound or a certain gesture.
That's it. Then, when I play I think as less as possible, in fact I don't want to
think at all when I perform.
Independent curatorial spaces:
Independent curatorial spaces are good for creating new art of course.
I think that a good curator needs to be a good seller, especially if there is a good
quality art behind.
Future Cahallenges? Probably my next solo would be a way more concentrated pure rhythm.
I started some Berlin based collaborations, each project with it's own sound world.That's pretty exciting I have to say.
Interest in sound? I just can tell that I started listening to congolese music
four years ago and I'm still doing that.
I like these italian based musicians:
Attila Faravelli, great music philosopher and a carefull listener and performer.
Renato Rinaldi, an incredible musician, one of the greatest experimental music performer I’ve ever seen live.
Enrico Malatesta, a nice percussionist, I like his style and approach to the music material.
Giuseppe Ielasi, a high class chef in choosing the right music (in fact I discovered tons of great music from him) and an experimental music surgeon.
Starfuckers, I’m glad I’ve seen they are still playing together these days.
www.globalgroovers.com and wrldsrv.blogspot.de two great african music resources.
I reccomend Q-O2 a great place for experimental music and art residency and performances
in Bruxelles | www.q-o2.be
The "watt from pedro show" a radio show made by Mike Watt and friends.
Andrea Belfi, 1st June 2012 Berlin