interviews
| schon dunkel (italiano) |
black magazine [2] #45 winter 2005
(english)
Flavio, how important is a kind of sub cultural network for you?
FIRST OF ALL LET ME THANK YOU AND YOUR READERS FOR YOUR INTEREST IN MY
ALIEN WORK...
NEEDLESS TO SAY A NETWORK TO LINK AS MANY ARTISTS AND FANS AS POSSIBILE
OVER THE WORLD IS OF THE UTMOST IMPORTANCE; UNDERGROUND ARTISTS, PRODUCERS
ETC SHOULD FORM A UNITED FRONT, MORE THAN AGAINST THE POWER OF THE MAJORS,
WHICH CANNOT BE DEFEATED, AT LEAST AGAINST THE IGNORANCE AND THE SUPERFICIALITY
OF THE “COMMERCIAL” PEOPLE...OK, DREAMS ;-)
Would you agree that less and less concerts take place and these are
visited by less and less people? Have you got any idea why this is the
case?
I WOULDN’T SAY SO; IT SEEMS TO ME THERE ARE A LOT OF EVENTS AROUND,
SMALL AND MORE RELEVANT AS WELL...SOMETIMES THEY ARE GOOD, MORE OFTEN
THEY ARE CRAP, THAT’S MAYBE THE MAJOR POINT...AND, AS USUAL, PEOPLE
TEND TO GO SEE WELL KNOWN ARTISTS RATHER THEN NEWCOMERS EVEN THOUGH SOMETIMES
TICKETS ARE OUTRAGEOUSLY EXPENSIVE...
When you played in Wetzlar you were not happy with your performance.
What was in your eyes the biggest problem?
LET ME SAY THE WETZLAR GIG, AS A WHOLE, WAS ONE OF THE BEST EVENTS I’VE
PARTICIPATED IN: THE VENUE WAS COSY AND OF THE RIGHT SIZE, PEOPLE WERE
VERY FRIENDLY, BEER EXCELLENT AND THERE WAS A GOOD TURNOUT; UNFORTUNATELY
SOMETHING WENT WRONG WITH MY OR WITH THE SOUND ENGINEER’S EQUIPMENT,
I DON’T KNOW...AS A RESULT MY FX-BOX DIDN’T WORK AND MY BASES
WENT INTO A CONTINUOS FEEDBACK ...IT WAS A NIGHTMARE, I SHOULD HAVE STOPPED
PLAYING: PEOPLE DEFINITELY GOT A WRONG IDEA OF DBPIT LIVE!
During your performance you showed some funny films you yourself have
made. Do you feel an affinity to science fiction films in general and
American sci-fi-films from the 50ies in particular?
YES I LOVE SCI-FI FLICKS, ESPECIALLY THE LOW-BUDGET AND NAIVE ONES, NOT
THE HOLLYWOOD BLOCKBUSTERS ONLY BASED ON TECHNOLOGY...I USED TO READ A
LOT OF SCIENCE FICTION AS A KID AND IT’S ALWAYS CHARMED ME: SCI-FI
CAN BE A GREAT WAY TO DEAL WITH HUMAN WEAKNESSES, FEARS, MENTAL DISEASES,
HOPES...IT’S NOT MERELY SPACESHIPS AND FREAKY MONSTERS!
I’M A BIG FAN OF GODZILLA, TOO (THE REAL THING, NOT THE AMERICAN
PHONEY LIZARD...), AND I DEDICATED A TRACK TO HIM IN “TROMPOZMO”
Are you interested in the work of Ed Wood (“Plan 9 from outer space”
etc.)?
OF COURSE I’VE SEEN ALL HIS MOVIES; HE REALLY BELIEVED IN HIS IDEAS
AND PURSUED THEM WITH NO MONEY...AND QUITE A LOT OF CRAZINESS ;-))
What do you think is the common ground between Circus Joy, Wertham and
yourself?
MUSICALLY SPEAKING, NONE, I GUESS...I MEAN, OUR PROJECTS ARE VERY DIFFERENT
FROM ONE ANOTHER; BUT WE ARE GOOD FRIENDS AND WE ARE ALL PART OF THE SAME
DERANGED FAMILY OF DAMNED ARTISTS WHO WANT TO KILL SOMEONE ELSE’S
BRAINS WITH OUR VERY PERSONAL AND OUTLANDISH MUSIC
Everybody needs a creative source. What is yours?
DISTRESS, SORROW, LOVE, HATE...LIFE, IN A WORD
Is there a connection between friendship and working together musically?
OF COURSE! MAYBE THAT’S NOT A MUST, I MEAN, YOU CAN COLLABORATE
WITHOUT BEING TRUE FRIENDS, BUT I FEEL WHEN MUSICIAN REALLY KNOW EACH
OTHER IN PRIVATE LIFE, THEIR OUTPUT IS SOMEHOW SPECIAL! IT IS AS IF YOU
CAN SENSE THAT...
You told us that in some Italian magazine somebody had compared one of
your albums to Nurse With Wound. Do you see similarities between Steven
Stapleton’s and your work?
NEEDLESS TO SAY, SUCH A STATEMENT MADE ME VERY PROUD, I’M A BIG
FAN OF NWW, HE’S A GREAT MASTER!--- YES MAYBE THERE ARE SIMILARITIES,
IN THE WAY WE EXPERIMENT, EVEN THOUGH THE RESULTS ARE PRETTY DIFFERENT
Your new CD "S.U.T.U.B." reminds us strongly of early Ain Soph-releases.
You and ClauDedi are friends and you have dedicated the track "Esperimento
Andato A Male" on your new 3’-CD Freak Nerve-Cell From Outer
Space" to him. What can you say about your friendship?
YOU MEAN ABOUT ME AND CLAUDEDI? WE’VE KNOWN EACH OTHER SINCE WE
WERE 15...AND I WILL NOT TELL YOU FOR HOW LONG, THEN! ;-)
I’VE LIVED THROUGH ALL HIS STAGES IN LIFE, SEEN ALL HIS BANDS AND
HAVE BEEN ABLE TO SEE HOW GENIOUSLY HE MANAGES TO COME UP WITH NEW AND
INTERESTING IDEAS...HE ALWAYS WANTS TO ROCK THE BOAT; I BELIEVE HE’S
EVEN UNDERRATED, HE DESERVES MORE CONSIDERATION...AND OF COURSE I OWE
HIM AND MUSHROOM’S PATIENCE THE BIRTH OF DBPIT...
On the cover of "S.U.T.U.B." it is said that you wanted to record
an industrial-CD without any elctronic effects. You consider the album
as "unplugged adventure". Could you briefly say something about
the idea behind it?
THAT’S VERY INTERESTING AND BRINGS US BACK TO CLAUDEDI: HIS WAS
THE IDEA TO CHALLENGE INDUSTRIAL ARTISTS INTO DOING SOMETHING ABSOLUTELY
UNUSUAL FOR THEM; I ACCEPTED AND REALISED THAT ALBUM WITHOUT USING ANY
EFFECT, SYNTH, IN A WORD, NO ELECTRONICS WHATSOEVER...
I RECORDED SOUNDS, INSTRUMENTS, VOCALS THEN EDITED IT ALL WITHOUT MODIFYING
ANYTHING; I THINK THE RESULT IS QUITE INTERESTING, AND THE VOCALIST WAS
SUPERB! IT WAS INCREDIBLE TO WITNESS HER CREATE THE MELODY AND THE BEAT
OVER SOME SIMPLE, UNUSUAL SOUNDS...
Is this CD also a reaction to the numerous releases that consist mainly
of thinly and badly manipulated samples?
I DIDN’T DO IT WITH THAT PARTICULAR PURPOSE, BUT, YES, IN A WAY
IT IS; MORE OFTEN THAN NOT INDUSTRIAL OR ELECTRONIC MUSIC HAVE BECOME
JUST AN EXCUSE TO SHOW HOW GOOD SOMEONE IS WITH A COMPUTER...IF YOU SEE
WHAT I MEAN
There are a number of vocals on the album. Will future-releases go in
a similar direction? What kind of expression does a track with vocals
have?
THE COLLABORATION WITH ANNA CONSUELO, THE VOCALIST, IS STILL ON AND SHE
IS SUPPOSED TO PARTICIPATE IN MY NEXT LIVE GIGS; I DO HOPE THIS ARTISTIC
UNION WILL LAST A LONG TIME BECAUSE SHE IS A GENIOUS...I’VE ALWAYS
LOVED VOCALS, BUT MY OWN VOICE IS AWFUL SO IT CANNOT BE USED...NOW, THE
SINGER ALLOWS ME TO USE MY LYRICS AND ENABLES ME TO LET MY THOUGHTS KNOWN
EVEN BETTER...BESIDES, ANNA CONSUELO REALLY ADDS THE MAGIC TOUCH TO THE
PROJECT...
What can you tell us about the split 7’ with Feine Trinkers Bei
Pinkels Daheim? Can this Christmas-7’ with your contribution “Stille
Nacht” be seen as a kind of joke?
I DON’T KNOW WHAT YOU EXACTLY MEAN BY “JOKE”...
THAT 7” IS PART OF THE SPLIT-PROJECT THAT THE “KONIGIN”
OF INDEPENDENT LABELS, KIMSONJA, THOUGHT OF...SHE IS VERY MUCH INTO GRAPHIC
ARTS AS WELL AS INTO MUSIC AND SHE TAKES CARE OF ARTWORK OF HER RELEASES
IN A VERY SPECIAL AND PASSIONATE WAY: WHITE RABBIT IS GOING TO RELEASE
THE SECOND PART OF THE TRINKERS/TRUMPETER JOB IN THE FORM OF TWO 3”-CDS
IN A STUNNING PACKAGING SHE DESIGNED HERSELF, THAT IS A MASTERPIECE ALONE!
THE 7” ANTICIPATED BY ONE YEAR THE CD AS A SPECIAL CHRISTMAS RELEASE
THAT’S WHY I DECIDED TO DO MY INTERPRETATION OF THAT OLD TRADITIONAL
SONG...
How important is humour for your work?
I COULD SAY WITHOUT HUMOUR DBPIT WOULD NOT EXIST...IT’S IMPORTANT
TO BE ABLE NOT TO TAKE ONESELF MUCH TOO SERIOUSLY, BUT ALWAYS WORKING...VERY
SERIOUSLY, THOUGH! I FEEL FREE TO EXPRESS MYSELF THROUGH MY MUSIC, REGARDLESS
TO WHAT OTHERS MAY THINK OF IT, AND SOMETIMES I REALLY FEEL LIKE MAKING
FUN OF LIFE; BUT WHEN IT COMES TO DEALING WITH OTHER PEOPLE, LIKE LABELS,
PRODUCERS, JOURNALISTS, OTHER MUSICIANS ETC, I THINK I AM QUITE DEPENDABLE
You often collaborate with others. Is there a certain point when working
together is no longer acceptable, can no longer be endured?
I LOVE COLLABORATIONS: WHEN U KNOW WHAT ANOTHER ARTIST CAN DO U KNOW HOW
HE/SHE CAN IMPROVE YOUR WORK BY ADDING HIS/HER OWN SKILL AND CREATIVITY;
AND UNLIKE IN A BAND, COLLABORATIONS COME AND GO WITHOUT HARD FEELINGS,
WHICH IS IMPORTANT AND MAKES IT EASIER TO GET BY: WHEN IT’S NOT
ACCEPTABLE ANYMORE ALL U HAVE TO DO IS NEVER ASK FOR ANYTHING ELSE ;-)
We know that you have a rather critical attitude towards globalisation.
We’ve often talked about that. Could you briefly present your criticism?
I THINK GLOBALISATION HAS NOTHING TO DO WITH CULTURAL EXCHANGE, IS THE
APPALLING RESULT OF EXPLOITATION; THEREFORE WHEREAS THE WORLDWIDE NETWORK
WE WERE TALKING ABOUT EARLIER AND A COMMON LANGUAGE ARE ABSOLUTELY NECESSARY,
GLOBALISATION IS KILLING TRADITIONS AND THE INTEREST IN SOMETHING DIFFERENT;
I ALSO THINK IS THE WRONG ANSWER TO PEOPLE’S FEARS: MANY FEEL REASSURED
TO FIND THE SAME THINGS WHEREVER THEY GO WHETHER THEY ARE FOOD OR ITEMS
OR SONGS OR WHATEVER…
That’s related to the last question. Do you disapprove of competition?
NO, IF COMPETITION IS FAIR…THE POINT IS, CAN IT EVER BE SUCH?
Have you got any idea how the present capitalist economy, which seems
to be acting in a rather pathological way at the moment, can be transformed
into a less immoderate and a more sustaining one?
NO, IF I HAD I WOULD PROBABLY WIN THE NOBEL PRIZE, OR MAYBE I WOULD BE
A LEADER…OR A TERRORIST…
You live close to the Vatican. Has the flood of pilgrims finally subsided?
UNFORTUNATELY THAT WILL NEVER HAPPEN…THE VATICAN IS THE MOST POWERFUL
AND PERFECT MONEY-MAKER MULTINATIONAL; YOU CANNOT IMAGINE HOW DEEPLY THEY
INTERFERE WITH ITALIAN POLITICS AND ECONOMY ; I’M NOT TOO CRAZY
ABOUT LIVING THAT CLOSE TO THE HOLY STATE…
Have you got any explanation why more and more people embrace religion
(at least on a superficial level)?
BASICALLY IGNORANCE AND FEAR; IT’ S UNBELIEVABLE TO HEAR YOUNG PEOPLE
STILL SAYING THAT THEY “BELIEVE” BECAUSE SO THEY ARE TAUGHT
TO OR BECAUSE “YOU NEVER KNOW…”
IT’S EASIER TO MAKE DO WITH READY-MADE ANSWERS TO THE MYSTERIES
OF EXISTENCE THEN TO LOOK DEEP INTO ONESELF IN A PERSONAL QUEST TO TRUTH…
In a novel by A.S. Bhatt one of the protagonists says that “It
is natural for human being to make up powers. […] I make an unnatural
effort. I stare into the dark and abstain from imagination. It’s
a destructive way and the rewards are meagre.” Would you rather
be one who stares into the dark void of reality and transitoriness or
would you consider yourself to be someone who believes in powers (God
etc.) in order to avoid becoming mad?
I’D RATHER STARE AT THE SKY, TRYING TO UNDERSTAND WHY AND HOW ANCIENT
CIVILIZATIONS WHERE ABLE TO COMMUNICATE WITH THE UNIVERSE…BUT, NO,
GOD IS NOT MY CUP OF TEA…
What do you expect and What can we expect from you?
I EXPECT TO PLAY AT ROYAL ALBERT HALL, TO SELL 5 MILLIONS COPIES OF MY
NEXT CD, THEN YOU MAY EXPECT A POSTCARD FROM MARS!!!
FOR THE TIME BEING, I’LL KEEP ON HAVING FUN AND MAKING FRIENDS WITH
MUSIC…AND THANK YOU VERY MUCH FOR THIS INTERVIEW
_______________________________________________
filth forge - 2005
1) For those who are so (un)fortunate to know nothing about your music,
could briefely describe who or what is DBPIT?
LET ME FIRST THANK YOU FOR YOUR CRAZY INTEREST IN MY WORK…YOU SEEM
TO KNOW MY ALBUMS DEEPLY AND THOROUGHLY… DOES THAT ACCOUNT FOR YOUR
RECENTLY BECOMING A DANGEROUS PSYCHO?
APART FROM KIDDING, THANK YOU VERY MUCH, REALLY!
IT'S KIND OF DIFFICULT EVEN FOR ME TO DESCRIBE dbpit…IS IT EXPERIMENTAL?
IS IT INDUSTRIAL? IS IT ALIEN? MAYBE A BIT OF IT ALL…PERSONALLY
SPEAKING IS MY WAY TO EXPRESS MY FEELINGS OF DISTRESS AND DISILLUSION;
AS FOR THE MUSIC I TRY TO BE ORIGINAL AS MUCH AS IT IS POSSIBLE; I NEVER
USE SAMPLES FROM OTHER'S MUSIC NOR COMPUTER-GENERATED SOUNDS; I USUALLY
ASSEMBLE FIELD-RECORDED SOUNDS, TRUMPET, OTHER ACOUSTIC INSTRUMENTS AND
PROCESS THEM WITH FX MACHINES OR PC ACCORDING TO THE MOOD OR TO THE CONCEPT
I'M DEVELOPING AT THE MOMENT; THE RESULT? HATE IT OR LOVE IT!
2) Apart from Cosey Fanni Tutti's sporadic use in Throbbing Gristle, no
other examples of trumpets in a post-industrial context come to my mind.
Where does the idea originally come from?
I HAD BEEN PLAYING THE TRUMPET IN A TOTALLY DIFFERENT CONTEXT WHEN RAFFAELE OF MUSHROOM'S PATIENCE ASKED ME TO RECORD SOME SESSIONS FOR HIS ALBUM "ROMA, WIEN" SOME YEARS AGO; THEN HE AND CLAUDEDI PROMPTED ME TO TRY AND DO SOMETHING ON MY OWN…TRUMPET IN INDUSTRIAL IS QUITE UNUSUAL, AS YOU SAID, SO WE THOUGHT SOMETHING ORIGINAL COULD ENSUE: "ELEVEN" WAS GOING TO BE CONCEIVED!
3) DBPIT's debut CD "Eleven" was released by Misty Circles in
111 copies, if I remember correctly. Such use of the number 11 wasn't
by chance for sure, especially with Misty Circles involved. Judging from
songs like "Book Of Toth", I smell some kind of secret exotheric
aspect in your music.
THAT PARTICULAR NUMBER, 11, HAS A STRANGE AND WEIRD RECURRENCE IN MY
LIFE , GOOD AND BAD AS WELL, SO IT DOES HAVE A PERSONAL EXOTHERIC MEANING
TO ME…THE TITLE CAN BE INTERPRETED AS A TRIBUTE TO SUCH NUMBER AS
WELL AS A…LUCKY CHARM!
WHEN IT COMES TO EXOTHERISM AS IT IS USUALLY CONSIDERED, I DON'T FOLLOW
ANY PARTICULAR CURRENT…I THINK ANYONE WITH "THOUGHTS",
WITH A DEEP INSIGHT IN LIFE AND ITS MYSTERIES CAN BE REGARDED AS AN "EXOTHERIC"…I'M
QUITE CONVINCED THAT ANCIENT CIVILISATIONS KNEW MORE AND BETTER THEN US
AND WERE MUCH MUCH CLOSER TO "DIVINITY" (WHATEVER IT IS) THEN
MODERN HUMAN KIND WITH ITS MATERIAL ATTITUDE AND UTTER IGNORANCE…WE
HAVE MUCH TO LEARN FROM OUR PREDECESSORS BUT WE CLOSE OUR EYES…
4) While listening to the first track, "Awakening", with that
alarm clock sound, I can't stop imagining you waking up in the morning
and cursing Rome's traffic at the thought of going to work. Is it close
to reality?
INDEED! THAT'S ACTUALLY MY ALARM CLOCK I RECORDED…A NIGHTMARE THAT
HAUNTS ME DAYLY SINCE YEARS…ROMA IS A DIFFICULT CITY TO LIVE IN…IT
HAS ALL THE DOWNS OF A BIG METROPOLIS WITHOUT ITS UPS…AT TIMES I
WISH I COULD MOVE SOMEWHERE ELSE BUT THE NEXT AVAILBALE PLANET IS YET
BEYOND MY MEANS…
5) "Eleven" features ClauDEDI (ex-Ain Soph) and Raffaele from
Mushroom's Patience, a band you have played in both on records and in
live shows. What are exactly your ties with two of the most dangerous
madmen of the Italian undeground scene?
FIRST OF ALL FRIENDSHIP; I KNOW CLAUDIO SINCE HIGH-SCHOOL-DAYS (BY THE
WAY, HOW SAD IT IS TO READ "EX-AIN SOPH"!! BUT THIS IS AN ENTIRELY
DIFFERENT MATTER WHICH WE'D BETTER NOT DISCUSS HERE) AND RAFFAELE SINCE
1993; ALTHOUGH ARE VERY DIFFERENT FROM EACH OTHER AND OUR LIVES ARE TOO,
WE SHARE THIS COMMON PASSION (OR DAMNATION?) FOR STRANGE MUSIC SO IN THE
END TOGETHER WE SHALL BE ;-)
6) On the same CD there's also an appearance by Novy Svet. What's up with
Jürgen and Ulla lately? Do you often hear from them?
ULLA AND JUERGEN ARE GOOD FRIENDS OF MINE, TOO; THEY MOVED AWAY FROM
WIEN AND HAVE CHOSEN TO LEAD A SOMEHOW MORE SECLUDED LIFE BUT WE ARE STILL
IN TOUCH; I OWE MUCH TO THEM AND WILL ALWAYS THANK THEM FOR BELIEVING
IN MY POSSIBILITIES; THEY ARE QUITE UNIQUE PERSONS AND I RESPECT THEM
HIGHLY
MORE COLLABORATIONS WITH NOVY SVET WILL APPEAR IN MY FORTHCOMING ALBUMS…
6) Your record label is called "Dischi Gatto Alieno" (Alien Cat Records), and when I was at your place I saw every kind of possible gadget potraying cats, not to talk about the three dangerous furry creatures who live there. When and why did you become a terminal cat-addicted?
GUESS IT'S IN MY GENES ;-)) CATS ARE STRANGE CREATURES; MANY HATES THEM BEACUSE THEY CAN'T UNDERSTAND THEM, BEACUSE THAY ARE INDEPENDENT AND PROUD, BECAUSE THAY WON'T FETCH YOUR SLIPPERS…MAN FEARS WHATEVER HE CAN'T GET THE HANG OF OR DON'T SERVE HIM…I'VE ALWAYS LIVED WITH CATS AROUND AND JUST CAN'T DO WITHOUT! AND, IN SPITE OF ANIMAL RIGHTS, MY MUSIC IS...ANIMAL-TESTED!! WHEN THE THREE BIG FURRY LOATHERS SCATTER AROUND LIKE THEY HAVE BEEN BITTEN BY SOME BUGS, I KNOW I’VE COME UP WITH SOME GOOD SOUNDS!! ;-)))
6) Would Catwoman be your perfect sexual dream? Or rather Cheetah, Wonder
Woman's deadly female feline archenemy?
OH, INDEED CATWOMAN IS SEXY, IN HER FETISH COSTUME! YES, DEFINITELY THE BEST CHARACHTER FOR ONE'S WET DREAMS! ;-)
7) "Complesso Plastico Vivente", on "Total Lack Of Vital
Energy", seems to come directly from Italian Futurism. That particular
art (or, if you prefer, anti-art) movement is quite a fixation also for
Mushroom's Patience and other bands of the Roman scene. What fascinates
you so much in the work of Marinetti, Boccioni and friends?
I REMEMBER APPROACHING FUTURISM DURING THE VERY LAST HIGH-SCHOOL LESSONS…"WHAT THE HELL HAVE WE BEEN STUDYING SO FAR", I THOUGHT, "THIS IS THE REAL THING!" I WAS REALLY STRUCK, IMMEDIATELY GRIPPED! FUTURISM, WRITTEN AND FIGURATIVE, CONVEYS GREAT POWER AND REVOLUTIONARY IDEALS; IT'S OVERWHELMING; MAYBE FUTURISM IS NOT AS "CRAZY" AS DADAISM BUT THE GUYS DID KICKED THE WORLD IN THE BALLS! ALTHOUGH I'M NOT INVOLVED IN POLITICS, I LOVE WHAT CAN ROCK THE STILL BOAT OF SOCIETY…
8) I interpreted "The Outstanding Story Of Mr. Mallory" as a
concept album about despair, a dystopia that wipes out 50 years of optimistic
superheroes born from nuclear accidents. Despite Mallory's apparently
tragicomical transformation, it's one of the darkest records I listened
to in ages, able to leave me completely annihilated and hopeless at the
end. Did it achieve its aim?
DEFINITELY! THE GUY IS AN AVERAGE MAN WHO BECOMES AN OUCAST AFTER DEVELOPING
SOME TOTALLY USELESS SUPERPOWER; MANY OF THE "REAL" COMIC BOOKS
SUPEHEROES HAVE SHADOWS HANGING OVER THEM , BUT THIS ONE IS TOTALLY HOPELESS
AND WHEN REALITY SETS IN HE FORGES HIS OWN DEATH TO ESCAPE… UNFORTUNATELY
MANY OF MALLORY'S ASPECTS HAVE BEEN INSPIRED BY MY OWN FEELINGS AND ATTITUDE;
I LOVE THAT ALBUM VERY MUCH; UNFORTUNATELY THE LABEL THAT RELEASED IT
HAS MYSTERIOUSLY VANISHED INTO THIN AIR SOON AFTER THE LAUNCH…ANOTHER
VICTIM OF "MALLORYISM" ?!?
9) On "TrompoZmo", I immediately fell in love with "Tupholasty,
The Sad, White Heated Dragon", my favourite DBPIT track so far. I
swear to you that every time I lisen to it the clear image of a white,
sad, loser cartoon dragon appears in my mind. He is there, in his dark
cave, lying on the floor and complaining about what a loser dragon he
is, unable to spit fire and terrorize knights. Did you get other feedbacks
about hidden hallucinatory powers in your music?
TERRIFIC! I'M ABSOLUTELY AMAZED BY THIS IMAGE! IN FACT THAT IS EXACTLY THE IDEA I HAD IN MIND, SINCE THE TRACK IS DEDICATED TO A FORMER GIRLFRIEND OF MINE, WHO IS A VERY GOOD AND GENEROUS PERSON BUT WHO WASTED MOST OF HER LIFE SELF-COMPLAINING AND IDLING INSTEAD OF FIGHTING…AND YES, SOMEONE ONCE WROTE TO ME "YOUR CD IS MASHING MY BRAIN"…!
10) Alien cats, crop circles... another fixation of yours seems to be extraterrestrial life forms. Have you ever been accidentaly kidnapped by flying saucers while they were attempting to steal the Vatican's dome?
NOT YET BUT I KEEP HOPING…I'M ABSOLUTELY POSITIVE ABOUT THE EXISTENCE,
PAST OR PRESENT, OF ALIENS AND I REALLY WISH THEY'D PICK ME TO VISIT OTHER
WORLDS, BUT PLEASE LEAVE THE VATICAN BEHIND, I'VE HAD QUITE ENOUGH OF
CATHOLICS!!!!!!!!!
11) And I guess that "Vampyra" is a spy of an everlasting passion
for B-Movies and celluloid trash in general. Could you recommend some
movies we definitely have NOT to watch?
THAT PARTICULAR TRACK HAS BEEN REALISED WITH A FRIEND OF MINE, FABIO MAGNASCIUTTI
WHO I'D LIKE TO THANK FOR HIS VARIOUS COLLABORATIONS…
…I SEE THAT YOU KNOW ME PRETTY WELL…YEP, B-FLICKS, MONSTERS
AND VAMPIRES ARE ANOTHER PASSION OF MINE…IF YOU WANT ME TO SUGGEST
A NO-NO OF COURSE IT MUST BE A MAINSTREAM MOVIE, LIKE FOR EXAMPLE "INDEPENDENCE
DAY"! BLEAH!
12) Let's talk about "S.U.T.U.B.", one of the many new releases planned. What the hell is an unplugged industrial album supposed to sound like?
LIKE NOTHING BEFORE, I HOPE! THE GENIOUS OF CLAUDEDI CAME UP WITH ANOTHER "REVOLUTIONARY" IDEA: A SERIES OF TOTALLY UNPLUGGED, ACOUSTIC ALBUMS BY SOME INDUSTRIAL ARTISTS, USUALLY DEVOTED TO ELECTRONICS AND EFFECTS…IT TOOK ME UNFATHOMABLE EFFORT TO ACCOMPLISH SUCH A CHALLENGING MISSION BUT I'M VERY HAPPY WITH THE FINAL RESULT! I REALLY THINK WE DID SOMETHING WHICH IS ONE OF A KIND! I SAID "WE" BECAUSE MANY ARTISTS GAVE THEIR CONTRIBUTION, INCLUDING NOVY SVET AND THE ABSOLUTELY FABOLOUS SINGER, ANNA CONSUELO, WHO GAVE HER MAGIC TOUCH TO THE WHOLE WORK…SO NO PROCESSING, NO EFFECTS, NO ELECTRONICS BESIDES EDITING HAVE BEEN USED…IT WAS REALLY HARD BUT WE MADE IT! AND THE ALBUM IS DUE ANYTIME NOW SO KEEP A SHARP EYE ON MAILING LISTS AND CATALOGS…;-)
13) What other crazy compendia of horrible sounds are you putting together?
Any other release scheduled for the next future?
HOPEFULLY, YES; I MEAN, I HAVE THREE MORE ALBUMS ALREADY COMPLETED WHICH SHOULD BE OUT IN THE NEAR FUTURE, DEPENDING ON THE LABELS: CHONDRITIC SOUNDS IN THE USA, WHITE RABBIT IN GERMANY AND AUDIOBOT IN BELGIUM… THEN A TOTALLY NEW CONCEPT WORK ON GOETHE WITH A LOT OF INTERNATIONAL BANDS INVOLVED IS GOING TO KEEP ME BUSY FOR THE NEXT YEAR OR SO…
14) What about DBPIT on stage? Any new plans? The only performance I witnessed,
back in 2003 at the Modulor Festival in Italy, was actually outstanding.
You were assisted by two other sonic maniacs, Lendormin. What are they
doing these days?
LENDORMIN HAVE JUST FINISHED THE FINAL EDITING OF THEIR FIST FULL-LENGHT ALBUM, A TRIBUTE TO GEORGE ROMERO'S ZOMBIE TRILOGY! NEEDLESS TO SAY, DBPIT IS ON IT, TOO…AS FOR LIVES, I'M PROBABLY PLAYING IN WETZLAR, GERMANY, NOVEMBER 5TH AND MAYBE IN BOLOGNA SOME DAYS BEFORE; I DON'T PLAY LIVE VERY OFTEN AND I ALWAYS TRY AND BE ACCOMPANIED BY SOME MORE MUSICIAN AND VIDEOS BECAUSE I THINK PEOPLE GET BORED IF THEY JUST SEE ONE GUY MEDDLING WITH A TRUMPET OVER PRE-RECORDED BASIS; I LOVE BEING ON STAGE BUT IT'S QUITE A STRESS, I GET VERY NERVOUS…LUCKYLY CLUBS ARE ALWAYS DIM-LIT SO IT DOESN'T SHOW!! ;-))
15) The last word is for you!
ACH, THAT'S GOING TO BE DIFFICULT…I'LL TRY AND SEND OUT A MESSAGE
OF FRIENDSHIP, LIKE, THERE IS TOO MUCH EVIL AND HUMBUG AND JEALOUSY EVEN
AMONG US, WHO LIVE IN A SMALL, UNDERGROUND NICHE…LET'S LEAVE THESE
TO THE PEOPLE "OUTSIDE" AND STICK TOGETHER TO BUILD A BETTER
(OR MAYBE WORSE, DEPENDING ON WHICH SIDE YOU ARE ON) WORLD!
THANK YOU ALL FOR YOUR INTEREST AND PATIENCE AND STAY (DE)TUNED WITH DBPIT
AND VISIT www.derbekannte.com
1. Perché la tromba invece del sassofono o del corno inglese?…per
di più fai musica "post-industriale" (che in realtà
potrebbe voler dire tutto e nulla), un genere dove la tromba viene usata
al + come rifinitura
intanto, prima di rispondere, mi pare giusto e e doveroso ringraziarti
per l'interessamento, specialmente in quanto per te é forse...insolito!
e grazie anche ai lettori della webzine che si tufferanno in questo mondo...alieno!
dunque, penso anch'io che l'etichetta di post-industrial (come del resto
spesso accade) sia poco rappresentativa...forse sarebbe più corretto
dire che faccio musica "sperimentale" ma alla fine cosa conta
il nome che le diamo? perchè la tromba? proprio perchè di
solito non c'è, o comunque non è lo strumento principale
in questo genere , quindi è un pò "provocatoria",
anomala, in questo senso...eppoi perchè ho imparato a suonare con
la tromba e non ho molta dimestichezza con altri strumenti...molte delle
mie basi sono costruite solo con suoni di tromba (mia, non uso mai suoni
campionati da dischi!), elaborata e irriconoscibile!
1. Come ti sei avvicinato a certi generi? Ho letto che quando eri piccolo
ascoltavi gli Abba, come è avvenuto il passaggio e perché?
(direi un bel saltino no)
eh,eh, si, sono cresciuto col classic rock degli anni '70 e col pop e
la wave degli '80...mi sono avvicinato alla musica d'avanguardia, industrial
e non, solo di recente; ciò è stato dovuto alla mia amicizia
ultraventennale con claudedi degli ain soph (gruppo "esoterico")
e alla proposta dei mushroom's patience (gruppo più "progressive-psichedelico")
che mi han chiesto di registare qualche pezzo con loro, spronandomi poi
a creare il mio "progetto" personale; parlo di "progetto"
e non di "gruppo" perchè faccio quasi tutto io, avvalendomi
comunque di amici che collaborano ad arricchire i suoni in studio e per
i live; naturalmente dopo esser partito con le mie cose ho sentito il
"bisogno" di approfondire la mia conoscenza dei vari gruppi
sulla scena, scoprendo con entusiasmo un mondo vastissimo e di estremo
interesse
1. Come descriveresti la tua musica a chi legge, tanto di più a
chi non ha la più pallida idea di cosa sia la musica industriale
e tanto meno quella post-industriale?
come detto, il termine in sè non vuol dire molto; la musica industrial,
per definizione, è nata coi throbbing gristle, ma nè i loro
mezzi nè le loro sonorità si accostano minimamente a ciò
che realizzo io; a volte mi pare che la musica industrial, oggi veramente
alla portata di chiunque sappia usare un pc, sia diventata un pò
un...rifugio per chi è tecnologico ma non ha idee...scusa lo sfogo;
io dico che faccio musica...aliena, sicuramente con pochi "mezzi"
ma cercando, per quel che posso, di essere originale; il mio scopo non
è "vendere", ma esprimermi e con ciò cerco di
far sgorgare i suoni più strani più dalla mia mente distorta
che dagli strumenti che uso...i miei pezzi non hanno quasi mai una struttura
canonica, sono assai poco "orecchiabili", anche se ora sto provando
una collaborazione con una vocalist che potrebbe dare un' impronta diversa
al prossimo disco...
1. Il mio dentista è circondato da assistenti superpatate gira
con una decappottabile e va a cavallo. Tu fai lo stesso mestiere, ma quando
non lavori fai uscire dei dischi che ascolteranno nella migliore delle
ipotesi in pochi, ho letto che a volte suoni indossando una maschera da
maiale e probabilmente per stare dietro a tutto dovrai farti in quattro.
Che mi racconti in proposito?
beh, anche in ambito professionale non mi sento...conformista; infatti
non sono certo lo stereotipo del dentista come lo si immagina, e ritengo
che il mio lavoro, per altro molto noioso, mi serva a a sopravvivere e
a foraggiare la mia passione srtistica; insomma, sono una specie di filantropo
di me stesso!
questo mi porta a cercare di ritagliare quanto più spazio possibile
per le mie attività e per i viaggi, dedicando al lavoro solo lo
stretto indispensabile, che comumnque non è poco; naturalmente
è una scelta "pesante", nel senso che la decappottabile
non potrò mai permettermela...ma sinceramente non mi pento affatto!
e naturalmente non posso certo far partecipi i pazienti del mio "insano"
hobby, ti immagini che facce farebbero...è una sorta di "doppia
personalità" non scevra da inconvenienti...
1. Ain Soph, Novy Svet, Marco Deplano sono nomi che a molti dei lettori
di Post-it non diranno molto ma in realtà sono "musicisti"
molto conosciuti ed apprezzati in altri ambiti. Musicalmente ti senti
un po’ "realizzato" o ci sono degli obiettivi che vorresti
raggiungere?
realizzato, mai. ed è necessario per andare sempre avanti a fare
sempre qualcosa di nuovo...soddisfatto, spesso; nel senso che sono contento
di ciò che faccio; però il mio sogno, ovviamente, è
quello di avere un maggior riscontro da parte del pubblico, pur sempre
in questo ambito ristretto; ho ascoltato una marea di gruppi o "progetti"
nella mia sfera che secondo me non valgono nulla, in termini di inventiva
o originalità, ma che hanno un largo riscontro...la solita storia;
come detto non mi interesserebbe un successo in termine di pure vendite,
ma una diffusione maggiore delle mie "idee"...secondo me le
potenzialità ci sono, forse fin'ora è mancato un certo lavoro
da parte delle etichette...
1. Usi la tromba in modo piuttosto particolare: riverberi, delay, effetti
assortiti…ma in che modo lavori (ad esempio registri prima la tromba
e poi la lavori al computer o suoni direttamente con gli effetti sul microfono
di ripresa…oppure ti registri con un computer, lavori le cose al
pc dopo essere andato in studio, che programmi utilizzi, etc…)?
praticamente tutto ciò che hai detto... uso molto il field-recording,
che poi elaboro al pc, costruendo le basi su cui poi sovraincido la tromba;
questa a volte è "dry" e viene effettata poi, a volte
invece è filtrata direttamente attraverso uno o due multieffetti
lexicon, un distorsore per chitarra etc...
per quanto riguarda il pc, che utilizzo, ripeto, solo per elaborare e
montare i suoni ma mai per generarli, uso giusto un paio di programmi
molto semplici, tipo cool-edit e fruity loops, nient'altro, per carità,
non ne sarei capace!
comunque molti dei suoni che uso sono creati dentro casa con semplici
oggetti, dalla caffettiera alla grattugia...
1. So che sei un grande fan dei Residents…eppure sentendo come suoni
a me sono venute alla mente anche alcune cose di Zorn & company. Nonostante
ciò mi pare di aver letto in un’intervista che non ascolti
molto jazz, vero? C’è qualche trombettista o "fiato",
più o meno famoso a cui ti sei ispirato (e ti prego non dirmi Eolo..:-)
in effetti non ascolto affatto il jazz, lo ammetto; giusto in passato
un pò di blues; direi che non ho nemmeno un trombettista-esempio...come
hai suggerito citando i residents, le fonti di ispirazione sono altre
e quasi mai c'è una tromba di mezzo...
1. In generi musicali molto estremi certi tipi di iconografia spesso sono
stati usati alla stregua di mera provocazione, gente come Genesis P. Orrige
ed i Death in June poi sulle provocazioni ha quasi costruito il proprio
modus essendi. Però è anche vero che c’è chi
non vede le cose come una provocazione intellettuale, ma più semplicemente
è di estrema destra. Ho anche letto che non sei molto interessato
alla politica, però ero parecchio curioso di farti questa domanda
(in fin dei conti la grafica dei tuoi cd e del tuo sito è spuria
di ogni tipo di riferimento politico).
grazie, questa domanda mi fà molto piacere; ho sempre avuto una
pessima opinione della politica, specialmente di quella attuale che non
ha nulla di filosofico o ideologico...personalmente non mi piacciono i
totalitarismi e ho una innata inclinazione per la "giustizia"
(in senso "assoluto", non giuridico...), quindi, figurati!
è vero che molti gruppi, vuoi per credo, vuoi per moda, seguono
una certa ideologia, facendo sì che l'industrial e il neo-folk
siano comunemente associati a ideologie di destra; però ti posso
assicurare che è un luogo comune che non accomuna affatto tutta
la "scena" . ormai, poi, secondo me, provocare con un simbolo
politico non ha molto senso; anche i sex-pistols avevano le svastiche,
ma oggi chi ci farebbe nemmeno caso?
So che oltretutto sei molte interessato al teatro, hai mai avuto esperienze
in quel campo? Hai progetti futuri in ambito teatrale ed hai mai pensato
di proporre le tue musiche per qualche spettacolo (in fin dei conti credo
che si presterebbe e non necessariamente per un grand guignol).
ho fatto teatro in passato, ma ormai ho smesso da tempo e non credo si
ripresenterà occasione; sonorizzare uno spettacolo invece mi piacerebbe
parecchio; in fondo spesso mi son sentito dire che le mie cose funzionerebbero
bene come colonne sonore...perchè no?
1. So che hai un figlio ed un ex moglie. È mai capitato che tua
moglie abbia sfruttato la tua carriera parallela o alcuni tuoi interessi
per screditarti agli occhi di tuo figlio? E sempre per rimanere in tema
famigliare hai mai preso in considerazione che un giorno tuo figlio potrebbe
arrivare a casa vestito Prada da cima a fondo e dirti: "..papà,
non hai mai capito un cazzo della vita, perdi tempo in quelle stronzate
quando le uniche cose che contano nella vita sono i soldi, la figa e la
coca!!"?
dunque...la madre di mio figlio è la persona più borghese
che conosco (grosso errore di gioventù...) e sicuramente non approverebbe
queste mie stranezze; una volta mi ha redarguito perchè ho portato
il pargolo a vedermi a teatro, per paura che ci fossero parolacce e cose
simili ! però spero non arrivi a parlar male di me in questo senso...per
lo meno, non finchè le arrivano puntualmente gli alimenti!
per quanto riguarda lui, che per ora di certo non condivide nè
comprende questo mio "mondo", se dicesse ciò che tu hai
detto, beh..gli direi..."accidenti, è vero! porta due amiche
e facciamo una festa!!!" ;-))
1. So che hai una grande passione per le civiltà perdute (mi pare
che uno dei testi che usi sia addirittura preso dall’egiziano se
non sbaglio). Pensi che un interesse del genere possa nascere come reazione
alla vita in un a grande città come Roma?
non credo, penso piuttosto che derivino dall'estrema curiosità
di cercare di capire "chi" siamo, perchè siamo così,
cosa abbiamo perduto...le antiche civiltà erano molto più
vicine alla "divinità" (in senso filosofico; io sono
dichiaratamente ateo) e avevano delle conoscenze inimmaginabili anche
astronomiche e tecnologiche che non solo sono andate perdute, ma sono
anche sottovalutate se non derise dalla scienza attuale...insomma, come
ho già detto in altra sede, l'atlantide non è solo un mito...
· Ho notato che fra i crediti di "The outstanding story of
mr. Mallory" oltre ai Lendormin (che forse qualcuno ricorda su di
una storica raccolta uscita per ZZZ... insieme ad Anatrofobia, Larsen,Ulan
Bator, Daniele Brusascheto ed altri) al solito Marco Deplano c'è
anche Gian Beppe Succi (prima dei Madrigali Magri, ora nei Bachi di Pietra).
Come siete entrati in contatto? Mi sembrate provenire da ambiti piuttosto
distanti?
· il tramite con giambeppe, persona squisita, ma ahimè lontana
geograficamente, sono stati proprio i lendormin, che mi hanno contattato
avendo letto una recensione su una rivista; c'è in piedi una sorta
di collaborazione a doppio senso da un paio d'anni: a volte mi "ospitano"
loro (in un ambito più di improvvisazione pura), a volte li "ospito"
io; ci completiamo a vicenda pur restando entità distinte e mi
trovo molto bene con loro;
1. A cosa stai lavorando? Quali sono i tuoi progetti futuri?
attualmente sto aspettando che escano un paio di cosette consegnate da
un anno (!) e sto lavorando a due nuovi cd: uno è quasi pronto
e sarà assolutamente nuovo per me; infatti, la misty circles, che
produsse il mio primo lavoro 3 anni fa, vuole dare il via a un piccolo
filone di...industrial unplugged! sembra una contraddizione ma è
provocazione anche questa...per cui io ho lavorato sostanzialmente nel
modo di sempre: field-recording e montaggio, ma assolutamente senza nessun
tipo di effetto nè strumento elettrico o elettronico...un bell'esperimento!
ora mancano solo le registrazioni della sfuggevole vocalist... che per
riuscire a cantare sulle cose mie ti assicuro che è un genio! purtroppo
ha talmente tanti impegni che le risulta difficile trovare il tempo, ma
io aspetto...
in seguito completerò un progetto con collaborazioni da parte di
una ventina di artisti internazionali intorno ad una stessa frase-concept,
presa dal faust...non penso vedrà la luce prima del 2006, forse
avremo tempo di riparlarne ;-)
grazie ancora a tutti voi
__________________________________________________________________
simone valcauda - babylon mag on line 20.1.2003
1) Quando, come e perché hai iniziato a suonare la tromba?
Ah, prima di affrontare questo inquietante argomento (è la domanda
che, con tono assai diverso, mi rivolgono spesso i vicini di casa…!),
permettimi di ringraziarti per l’interessamento dimostratomi…fa
sempre piacere vedere che qualcuno nota i tuoi sforzi artistici…dunque,
fu il grande claudedi, assieme ad altri artisti capitolini, ad iniziarmi
allo strumento, circa 10 anni fa: nel gruppo in cui suonavano allora mancava
un fiato, e fui prescelto…e sì che di musica suonata non
ne capivo nulla! (beh, molti dicono che anche adesso…vabbè,
glissiamo!); prima di allora mi ero esibito solo come poeta, ma la possibilità
di un’avventura musicale mi ha subito affascinato! Così ho
dedicato anni allo strumento, capendo però subito che, data la
mia natura caotica e distorta, non poteva essere classica l’impostazione
che avrei dato alla mia musicalità!
2) Da dove nasce il bizzarro nome del tuo progetto?
Sostanzialmente dalla rivista tedesca “black”; vedi, tutto
è stranamente concatenato…come una malattia che pian piano
contagia tuti gli organi vitali e alla fine distrugge l’organismo
intero, dando però forma ad un nuovo essere…mi spiego meglio:
per anni ho tenuto la corrispondenza estera di ain soph, grazie alla mia
conoscenza dell’inglese; quindi quando raffaele cerroni mi chiamò
per i suoi mushroom’s, mi chiese anche di tradurgli un’intervista
per “black” (n° 24/2001) in inglese; in quell’intervista
mi citava come “il famoso trombettista post-industriale”,
che in tedesco è poi diventato “der bekannte post-industrielle
trompeter”…credo siano le uniche parole di tedesco che conosco!!!
3) Che cosa hai pubblicato fin'ora?
Come “solista” non molto, per ora; “eleven” è
un EP pubblicato da misty circles nel maggio 2002 in 111 copie, ormai
esaurite; si è trattato quasi di un esperimento, dopo l’ottima
accoglienza di “roma, wien” di mushroom’s patience,
e invece ha avuto parecchi riscontri positivi! È piaciuto molto
al mio buon amico juergen weber (novy svet) che ha voluto farmi partecipare
allo stupendo lavoro “noi e il mondo”, il box di 4 vinili
per il quale gli ho dato l’Lp “total lack of vital energy”;oltre
a queste due uscite, ho partecipato con il brano “little starman”
alla compilation “songs for landeric” di cynfeirdd, e sarò
presente in “rumori ambientali 2”, nonché, col buffo
brano “bekydance”, nella esclusiva compilation per il ristretto
“circolo della vela”…non è moltissimo, ma per
me è un grande inizio; considera che sto sempre lavorando con mushroom’s
patience, gruppo assolutamente geniale!!!
4) Suoni con Mushroom's Patience e recentemente ti ho visto in azione
con Macelleria Mobile Di Mezzanotte. Da quanto frequenti la, chiamiamola
così, scena "industrial" romana?
Beh, avevo iniziato diversi anni fa in un progetto collaterale di claudedi,
i Silent Pistols, gruppo dalla breve vita ma di grande impatto…siamo
riusciti a far chiudere un locale dopo averci suonato con lamiere e marmitte!!!
Già da lì si era capito quanto fosse strana la presenza
della tromba in un gruppo industrial…sostanzialmente, c’entra
poco o nulla; non è, per capirci, come la tromba in un disco dei
death in june…
Pensa che per i silent pistols avevo scritto “I went home”,
che poi, molto rivista e cambiata, ho inserito in “total lack…”!
Naturalmente la svolta è stata la “chiamata” da parte
di raffaele, che sempre ringrazierò (e, se lo ringrazio, lui si
arrabbia, ma lo amo, che posso farci?!?);
la “macelleria” è venuta di conseguenza, e devo dire
che a prato mi sono molto divertito…adriano sul palco si trasforma
in una furia scatenata…ora dovremo risuonare a roma…spero
riusciremo a fare ancora più devastazione!
5) Com'è nata questa fratellanza/collaborazione con la scena di
Vienna e artisti come Der Blutharsch e Novy Svet?
Hai citato due gruppi che in comune hanno solo il fatto di essere entrambi
viennesi…
Personalmente, mi sento più vicino a novy svet, coi quali ho collaborato
e anche suonato dal vivo due volte (a roma il 15 e a bologna il 19 dicembre
scorsi)…spero riusciremo a pubblicare qualcos’altro insieme!
Con albin julius il discorso è differente: lui produce i “mushroom’s”
e non credo si interesserà mai a DBPIT come “solista”;
gli piacque molto “roma,wien” così ha instaurato una
felice colaborazione con raffaele,di cui ha già ha pubblicato “eaten
alive” e “spirit of the mountain/from the mountain”,
più una ristampa in vinile di “roma,wien”, dando ai
“mushroom’s” quel carattere internazionale che gli serve
e gli compete; nel suo campo, albin è veramente bravo.
Ormai l’asse roma-wien sembra un’essenza consolidata e spero
duratura; spesso dalle alleanze nascono gli imperi!
6) Hai suonato con Mushroom's Patience al festival della Hau Ruck! a Vienna.
Com'è stato questo piccolo grande evento?
Il festival è stato un gioiello d’organizzazione, un trionfo
di pubblico, un’atmosfera indimenticabile; purtroppo sarà
assai difficile vedere una cosa del genere in italia…ma sono molto
contento di esserci stato…sarei già stato contento di andarci
da spettatore, figurati da partecipante! Veramente una situazione da vivere,
una piccola…contro-woodstock!!!
7) Ascoltando "Eleven" di DBPIT mi sono venuti in mente i seguenti
nomi, che molto alla lontana potrebbero essere accostati a te: Mnemonists,
Metabolist, Borbetomagus, Residents, i primissimi Clock DVA... Dimmi se
qualcuno di questi artisti ha fatto magari parte dei tuoi passati ascolti.
Mah, sai, non amo molto accostamenti e paragoni, specie quando si cerca
di essere il più singolari possibili…comunque confesso di
non ricordare i primi tre nomi, mentre i Residents NON fanno parte dei
miei ascolti PASSATI: sono un ascolto quasi QUOTIDIANO!!!! Per i clock,
non sò mica se i fiati che si sentono sono veri o campionati…ma
la cosa più strana di DBPIT e la centralità, non la semplice
presenza, di uno strumento poco affine all’industrial, più
facilmente associato ad altri generi come il jazz o il blues…sai
una cosa: non sopporto il jazz!!!
In genere, quando registro un brano, cerco di creare le mie basi il più
possibile con la tromba, montando e alterando brevi spezzoni col sequencer
; uso molto anche strumenti , diciamo “artigianali”, e una
tastiera, sempre filtrati dai dovuti effetti, mentre non amo i campionamenti
presi da dischi o brani altrui.
8) Ho letto nel tuo profilo che sei un medico dentista. È dunque
possibile conciliare il ruolo di stimato professionista, magari con famigliola
al seguito, con quello di folle musicista sperimentale?
Aaaahhh!!! E qui hai toccato uno di quei tasti…quanto spazio abbiamo?
Forse non basterebbe una vita di interviste a rispondere a questa domanda!!!
Se vuoi una risposta secca, essa è : “NO!” non è
possibile. Lasciamo perdere la questione famigliola (ho un figlio di 10
anni, il “pusio” che trovi anche fra i credits in eleven,
e sono divorziato da 7 anni), e atteniamoci allo “stimato professionista”…personaggio
in cui non mi riconosco affatto!!! Vedi, a causa delle mie attività
“artistiche”, si è dovuta creare in me una sorta di
schizofrenia in cui la mia identità vera è quella con la
faccia da maiale, la tromba, i viaggi a wien, la birra, i film splatter,
il cappellone nero, la gente come te, come raffaele, claudedi, juergen,
adriano, vincenzo, i locali fumosi, le riviste, le interviste…l’altra
identità serve solo a pagare i conti della prima ma, giuro, non
sono “io”…non so se puoi percepire appieno cosa intendo,
ma io “recito” ogni giorno una parte tristissima, fatta di
“buongiorno” e “buonasera”, una parte per cui
non sono nato ma che per motivi di sopravvivenza dovrò mantenere
finchè campo…sempre che nel frattempo non impazzisca e allora
mi intervisterai in un manicomio criminale!!!
*********************************************************
interviewers:
patrick ewering & christian gotze
issued in german on black magazine - spring 2003
1-The recordings to the "Eleven"- album took place with the
"well-known team" consisting of Raffaelle , Claudio, Marco ....
Can you say something how the recordings have developed? Where has it
been?
First of all I’d like to thank you and your mag for being interested
in my work - you know I kind of owe my nickname to black magazine, don’t
you?
As “eleven” marks the beginning of DBPIT’s solo adventure
I’m particularly glad you asked this question: I had been playing
with Mushroom’s Patience, and always been a big fan of ain soph
and close friends with claudedi…so, one night after rehearsing for
a muspat gig, claudedi and raffaele cerroni sort of told me: “why,
flavio, don’t you know…there’s something weird and fascinating
in your playing…you really should try and do a solo album…we
can help you if you wish…”.
So they sparkled my enthusiasm and opened the door to a new, magic world
to me! So “eleven” was going to be born, recorded partly at
home on my pc and partly at raffaele’s, who put his experience and
equipment to my service …then many friends partecipated in this
project: marco deplano, juergen weber, ulla tost, my very son…a
great work, I think! I really owe raffaele and claudedi a lot!
2- I got the impression that you use a lot of natural sound elements and
sound sources like singing birds for your composition. Can you specify
a little bit about the other natural sound sources?
Oh, you’ve got a very keen ear!! Hardly anybody recognised it’s
animal sounds and calls! Yes, I love strange animals’ sounds…often
one can’t imagine how strange can a natural sound be! And mostly
I didn’t even process them! I bought this “weird sounds”
tape in London many years ago, recorded it on my pc and hey presto! a
whole lot of queer samples ready to use! But in a song from my second
work (“total lack of vital energy”, in the 4-lp box set “noi
e il mondo”) I used the true voice of one of my cats…that
was easy, they always wail when begging for food!
I also have a number of “home made” junk-instruments…a
chair-o-phone, a hand-washing machine filled with nuts…but they
do need a lot of computer-processing !!!
Sometimes I mixed common sounds into a song to render the “metropolitan”
atmosphere we live in…drills, creaking doors, toilet flush…it’s
generally annoying or creepy sounds, something you’d hate or turn
your head from…such as the dentist’s drill!!!
Yes, and of course Therese the vespa has been present...a special relation?
oh, yes indeed!!! that's the actual sound of my poor old "vespa",
that I used to own for over 20 years...then, due to italian codes and...rust,
I decided to give it in, but not before paying the last respect to it!!!
now I have one of those modern jap scooters, but it's not half as charming!!!
3-Do you develop a concept before you start the play-in? Or do a lot
of things happen in an "automatic" way?
Mmmhhh…y’know…they said my music follows no rules, no
arrangements…so is my thinking: at times it’s a concept behind
a song (i.e. “psycho gate” or the “book of thoth”),
other times is a sounds that recalls a memory or gives life to a thought
4-Can you tell the story (again) about the song "Memories Of Vienna
vol. 1" ? You had a little cold there and needed some "Nasenspray"....?
ah, yes, funny, isn’t it?!? It was my first visit to wien, I was
with claudedi and raffaele, juergen and ulla (novy svet) and I had such
a bad cold…so I started drinkin’ and drinkin’ and drinkin’…my
head went numb…and, yes, I badly needed a nasenspray…well,
I just can’t remember the details but I recall they tried to teach
me some german, a few words I noted down on a pad…then they became
the lyrics for memories of vienna!!! Actually, there is a m.o.v./vol.
2 , still unreleased… same words, even different versions!
Some plans on which kind of "sound carrier" you will release
it. Or which label will release it?-
I'm currently in contact with three labels: misty circles, nekofushakta
and white rabbit; don't know which will publish a new work of mine first,
yet...but before that there's a split scheduled...surprise!!!
5-Do I recognize an ABBA-Sample in the song "Kradumarrich"?
If I’m right,did you have a special idea behind the usage? Is there
a secret enthusiasm for this Swedish group?
You’re right, it’s abba…I used to love them as a child…I
remember seeing those long-legged, blonde-haired women like goddesses…one
of the few pop-bands I liked ! so nothing really special with using that
sample…it’s kind of a…tribute!
6- Could you briefly give us an overview of your musical career? In which
projects are you currently involved?
ok, I’ll try…stop me if I make it too long…you know,
after several years of partecipations side by side with the most relevant
members of Roman underground scene, including the mysterious claudedi’s
side-project “the silent pistols”, I set off for an entirely
new adventure when, in the year 2K, the leader of the sperimental/post-industrial
band “mushroom’s patience”, raffaele cerroni, summoned
me to record my strangely-tuned trumpet in a couple of tracks for his
forthcoming album “roma-wien” that soon became a smash hit;
in “the spirit of the mountain”, next mushroom’s patience’s
work published by “hau ruck!”, my trumpet is much more present
;
I played live with mushroom’s at sonica (roma, nov 2001), mind’rron
(massafra –TA, feb 2002) and twice at the monastery (wien, may and
nov 2002)
in may 2002 misty cirles produced my first solo attempt: “eleven”,
that soon gained pretty positive reviews on a number of magazines as well
as on many websites.
my track “little starman” appears in the French compilation
“songs for Landeric” (cynfeirdd – sept 2002);
when the box “ Noi E Il Mondo” was officially presented at
the sonica- roma, nov 15, 2002 , I played live two unreleased songs, with
the precious help of the performer gervy costa and the always present
raffaele cerroni on the bass;
during the same night, I joined novy svet on stage for a couple of songs
and such collaboration was to be again 4 days later in bologna (stile
libero).
I participated in the 2nd Italian postindustrial congress ( siddharta
- prato - jan 4, 2003), playing in an uncanny pig-disguise with the band
of adriano vincenti, “macelleria mobile di mezzanotte”, with
whom I played again in roma…well, I guess I’m in the line-up
of that band, too, now! very different from mushroom’s…more
violence, less music…
7- Would you like to express a certain attitude towards life or at least
a certain view on things? If this is so, which is it?
well, my view of life is a quite disillusioned one…I’ve had
a lot of bad experiences and I’m inclined to distrusting almost
everybody…
maybe I’m kind of trying to take my revenge on human kind by dispensing
my music…
8- Which concept stands behind the "Noi E Il Mondo"-Box? In
which way did you try to achieve this goal?
NEIM is a sort of celebration of the friendship that links Novy Svet and
some roman bands; Juergen Weber is indeed a good friend and my first fan
so he involved me in this great, limited production…my LP (total
lack of vital energy) is a collection of strange tracks, perhaps more
pondered upon than the ones in “eleven”…there are two
that deals with my great passion: mysterious civilizations such as the
Egyptians and the pre-colombian south Americans, one, brainless android,
that depicts my idea of Man in the not-so-distant future and one that
sums up my hopes: aliens and cats!!!
I would say, the "Noi E Il Mondo" - Box is a critical stock-taking
about the international situation in the economical developing world,
not only the western world, also the third world and emergent nations.
Of course, critical opinions and a dialogue is necessary, but in Germany
and some other European countries I got the impression that some left-winged
extremists wanna instrumentalize the dissatisfaction for their political
goals. If I see the red flags with "hammer and sickle" and that
makes my stomach aching. What do you think about this topic?
at the eve of a very dangerous new war, this is a very important question...although
as DBPIT I choose not to convey any particular political idea, I must
say I never trusted politicians (if you listen very carefully to "the
invasion of the human-men" in "eleven", you'll find this
concept); in Italy we've had left, right and centre goverment and nothing
really changed...it seems to me that they wear a colour only to get to
the power than work for their own profit...and of course there's strumentalization,
just think of illegal immigration...don't you think they could stop it
if they could? but it sure serves someone's, hidden purposes...as for
the oncoming war, I don't think there's good and evil, but only interest,
on both sides...and over such issues, strumentalization is obvious; novy
svet's album in noi e il mondo is dedicated to the boy who got accidentally
killed by a policeman durin the G8 in genoa: that caused a loud uproar,
but apart from that, can you just imagine how much strumentalization there
was in Italy over that fact? that guy has become a symbol, an idol...an
instrument, when he was just another unlucky fellow who was (perhaps)
trying to kill someone else and was there as a puppet moved from behind...I
don't like Italian goverment but I don't like left-wingers, too!
9- For the Cynfeirrd-Compilation "Songs for Landeric" you also
contributed a "childrens-song". Could you remember own experiences
with children for this?
I’m trying to break my son of 10, Francesco (“pusio kranio”
in the credits of “eleven”), to creative kinds of music…unfortunately,
his mother is giving him a very classical education…but who knows,
maybe one day he’ll pierce her ears with the most weird sounds!!!
and there’s a piano sample of his in my song for landeric…ah,
if his mother knew !!! (no, we are not on good terms!)
10- Would you share your five last bought records with us? Additionally
we would like to know which was your last visited museum in Rome?! :)
sure, just a couple of days ago I bought “meet the residents”
to replace the old tape I had! lately I got hold of “automating”
by nurse with wound (wonderful!!!) , “la folie verte” by Blood
Axis & LJDLP, ain soph’s “oktober” (even though
I didn’t actually buy it, I had it from the great claudedi) and
“Towards The Event Horizon” by jack or jive, a band I got
to know thanks to their extremely nice German producer kimsonJa;
as for museums, roma is pretty poor! I mean, there are lots but very old,
bad kept and with too little notes…anyway I went once again to the
Etruscan museum a couple of months ago and to the impressionists exhibition
earlier on…I never saw germany’s yet (but my last visit made
me want to see more!!!), but if I want a museum I go to England…
11- What are your plans for the future?
as for music, I'm working at my new album, and if some practical problems
will be taken care of, I hope it will be out by the end of this year…
besides, since they have demands, Misty Circles are going to re-release
“eleven” with a different cover;
then I expect more live acts with mushroom’s and novy svet;
as for other aspects of life, better make no plans…
12- Any last words?
well, yes: "meow" !!!
intervista pubblicata in tedesco da Black Magazine – primavera 2003
1- la registrazione di eleven è stata realizzata con raffaele,
claudio, marco…come si è sviluppato il progetto e dove?
2-
INTANTO RINGRAZIO TE E LA RIVISTA PER L’INTERESSAMENTO AL MIO LAVORO-LO
SAI CHE DEVO IL MIO NOME D’ARTE A VOI, VERO?!?
No, non capisco…
ALLORA VEDI L’INTERVISTA A MUSPAT APPARSA SUL #24/2001…
SONO CONTENTO TU MI ABBIA FATTO QUESTA DOMANDA, VISTO CHE ELEVEN RAPPRESENTA
IL MIO ESORDIO DA SOLISTA; SUONAVO CON MUSHROOM’S PATIENCE E SONO
STATO SEMPRE AMMIRATORE DI AIN SOPH E AMICO DEL GRANDE CLAUDEDI, QUINDI
UNA SERA DOPO LE PROVE DEI MUSPAT, RAFFELE E CLAUDIO MI HAN DETTO: “LO
SAI CHE C’E’ QUALCOSA DI STRANO E AFFASCINANTE NEL MODO IN
CUI SUONI LA TROMBA…DOVRESTI PROPRIO FARE UN ALBUM DA SOLO…E
NOI POSSIAMO AIUTARTI…”
COSI’ HANNO INFIAMMATO IL MIO ENTUSIASMO E SPALANCATO PER ME LE
PORTE DI UN NUOVO, MAGICO MONDO!
ELEVEN STAVA PER NASCERE; REGISTRATO IN PARTE A CASA COL PC, IN PARTE
DA RAFFAELE CERRONI, CHE HA MESSO IL SUO EQUIPAGGIAMENTO E LA SUA ESPERIENZA
A MIA DISPOSIZIONE…QUINDI MOLTI AMICI HANNO PARTECIPATO AL PROGETTO:
MARCO DEPLANO, JUERGEN WEBER, FRL.TOST, PERSINO MIO FIGLIO…UN GRAN
LAVORO, RITENGO!
DEVO MOLTO A CLAUDEDI E A RAFFAELE!
2 mi è parso di capire che usi molti suoni naturali, come uccelli…ci spieghi la scelta delle altre sonorità naturali che usi?
HAI UN ORECCHIO ACUTISSIMO! QUASI NESSUNO RICONOSCE CHE SI TRATTA DI
VERSI E RICHIAMI DI ANIMALI!
AMO MOLTO I SUONI STRANI DI ALCUNI ANIMALI…SPESSO NON S’IMMAGINA
QUANTA STRANEZZA VI SIA! E LA MAGGIOR PARTE NON NECESSITANO NEMMENO DI
PARTICOLARI EFFETTI…
ANNI FAI COMPRAI A LONDRA UNA CASSETTA DI STRANI SUONI, L’HO PASSATA
SUL PC ED ECCO FATTO UNA SERIE DI CAMPIONI STRANISSIMI BELL’E PRONTI!
MA NELL’LP “TOTAL LACK OF VITAL ENERGY”, PARTE DEL COFANETTO
NOI E IL MONDO, HO USATO LA VOCE DI UNO DEI MIEI GATTI…FACILE REGISTRARLI
QUANDO CHIEDONO CIBO!!!
POI POSSIEDO DIVERSI STRUMENTI FATTI CON MATERIALE DI RICICLO: UN SEDIOFONO,
UNA LAVATRICE A MANO RIEMPITA DI NOCI…MA QUELLI NECESSITANO DI PARECCHIO
LAVORO AL COMPUTER!!!
A VOLTE IMMETTO SUONI COMUNI IN UN BRANO PER RENDERE L’ATMOSFERA
METROPOLITANA IN CUI VIVIAMO…TRAPANI, PORTE CIGOLANTI. SCIAQUONE
DEL BAGNO…GENERALMENTE SONO SUONI FASTIDIOSI O SINISTRI, COSE ODIOSE
O DA CUI TI SCANZI…TIPO IL TRAPANO DEL DENTISTA!
…e poi naturalmente c’è la vespa…
AH, SI, SI! È IL RUMORE DELLA MIA POVERA VESPA CHE HO TENUTO PER
20 ANNI…POI A CAUSA DEI REGOLAMENTI ITALIANI E DELLA RUGGINE, L’HO
ELIMINATA MA NON SENZA RENDERLE OMAGGIO!
ORA HO UNO DI QUEGLI SCOOTERONI GIAPPONESI, MA NON HA DI CERTO LO STESSO
FASCINO!
3 prima di suonare sviluppi un concetto o tutto avviene in modo “automatico”?
BEH, SAI, DICONO CHE LA MIA MUSICA NON SEGUE NE’ REGOLE NE’ ARRANGIAMENTI E QUESTO VALE PER LA MIA IDEAZIONE: A VOLTE DA UN CONCETTO NASCE LA CANZONE (TIPO PSYCHO GATE O BOOK OF THOTH), ALTRE VOLTE E’ UN SUONO A RICHIAMARE DEI RICORDI O FA SCATURIRE UN PENSIERO…
4 ci puoi riraccontare la storia di memories of vienna vol.1? avevi il raffreddore e necessitavi di un “nasenspary”…
AH, SI, BUFFO, EH?!? ERA LA PRIMA VOLTA CHE ANDAVO A VIENNA, ERO CON CLAUDEDI, RAFFELE, JUERGEN E ULLA E AVEVO UN TERRIBILE RAFFREDDORE…QUINDI HO COMINCIATO A BERE, BERE, BERE…E’ LA TESTA E’ PARTITA…SI, MI SERVIVA UN “NASENSPPRAY” …BEH, NON RICORDO I DETTAGLI MA MI PARE CHE CERCASSERO D’INSEGNARMI UN PO’ DI TEDESCO, POCHE PAROLE CHE HO ANNOTATO E CHE SONO DIVENTATE IL TESTO PER M.O.W.!!! IN EFFETTI, C’E’ UN VOL.2, NON PUBBLICATO…STESSE PAROLE, VERSIONI TOTALMENTE DIVERSE!
5 mi sembra di riconoscere un campionamento degli abba in kradumarrich…c’è un motivo particolare per questa scelta o un entusiasmo particolare per il quartetto svedese?
SI, SONO GLI ABBA…DA PICCOLO MI PIACEVANO MOLTO…VEDEVO QUESTE BIONDONE DALLE GAMBE LUNGHE COME DELLE DEE…E’ UNA DELLE POCHE POP-BANDS CHE MI PIACEVANO! QUINDI NULLA DI SPECIALE, SOLO UN…OMAGGIO!
6 raccontaci la tua carriera musicale e dicci in quali progetti sei coinvolto
OK, FERMAMI SE LA FACCIO TROPPO LUNGA…DOPO SVARIATI ANNI DI PARTECIPAZIONI
A FIANCO DI IMPORTANTI PERSONAGGI DELL’UNDERGROUND ROMANO, INCLUSO
IL PROGETTO COLLATERALE DI CLAUDEDI CHIAMATO SILENT PISTOLS, PER ME E’
INIZIATA UNA NUOVA AVVENTURA, QUANDO, NEL 2000, RAFFAELE CERRONI, LEADER
DEL GRUPPO SPERIMENTAL-POST-INDUSTRIALE MUSHROOM’S PATIENCE MI HA
CHIAMATO PER REGISTRARE LA MIA TROMBA FUORI TONO IN UN PAIO DI BRANI DEL
SUO NUOVO ALBUM ROMA,WIEN, CHE HA AVUTO MOLTO SUCCESSO;
NELL’ALBUM SUCCESSIVO, THE SPIRIT OF THE MOUNTAIN, USCITO PER HAU
RUCK!, LA MIA TROMBA E’ MOLTO PIU’ PRESENTE.
COI MUSPAT HO SUONATO DAL VIVO AL SONICA DI ROMA (NOV.01), AL MIND’RRON
DI MASSAFRA (FEB.02), E DUE VOLTE AL MONASTERY DI VIENNA (MAGGIO E NOVEMBRE
2002).
NEL MAGGIO 2002, LA MISTY CIRCLES HA PRODOTTO IL MIO PRIMO TENTATIVO DA
SOLISTA, ELEVEN, CHE HA AVUTO OTTIME RECENSIONI IN MOLTE RIVISTE E SITI
WEB;
IL MIO BRANO LITTLE STARMAN APPARE NELLA COMPILATION DELL’ ETICHETTA
FRANCESE CYNNFEIRD, SONGS FOR LANDERIC;
ALLA PRESENTAZIONE DEL BOX NOI E IL MONDO AL SONICA DI ROMA, HO SUONATO
LIVE DUE BRANI INEDITI E DUE BRANI CON NOVY SVET, COLLABORAZIONE CHE HO
RIPETUTO ALLO STILE LIBERO DI BOLOGNA ALCUNI GIORNI DOPO.
HO PARTECIPATO AL 2° CONGRESSO POST-INDUSTRIALE ITALIANO AL SIDDHARTA
DI PRATO (4.1.03) SUONANDO TRAVESTITO DA MAIALE CON LA MACELLERIA MOBILE
DI MEZZANOTTE, DI ADRIANO VINCENTI…CON LORO HO RISUONATO POI A ROMA…PENSO
DI ESSERE ORMAI
NELLA FORMAZIONE!
MOLTO DIVERSI DA MUSPAT…MENO MUSICA, PIU’ VIOLENZA!
7 qual è la tua visione della vita?
SONO PIUTTOSTO DISILLUSO...HO AVUTO DIVERSE ESPERIENZE NEGATIVE
E TENDELZIALMENTE NON MI FIDO DI NESSUNO…PUO’ ESSERE CHE IO
STIA CERCANDO LA MIA VENDETTA SUL GENERE UMANO PER MEZZO DELLA MIA MUSICA!
8 qual è l’idea dietro noi e il mondo e come si è relizzata?
NEIM E’ UN PO’ UNA CELEBRAZIONE DELL’AMICIZIA CHE LEGA NOVY SVET AD ALCUNE BANDS ROMANE; JUERGEN E’ UN BUON AMICO E IL MIO PIU’ ACCESO FAN COSI’ MI HA VOLUTO FAR PARTECIPARE IN QUESTA GRANDIOSA EDIZIONE LIMITATA…IL MIO LP, TOTAL LACK…, RIUNISCE UNA SERIE DI BRANI PIUTTOSTO STRANI, FORSE MENO SPONTANEI DI ELEVEN…CE NE SONO DUE CHE RIGUARDANO LA MIA PASSIONE PER LE CIVILTA’ PERDUTE, COME QUELLA EGIZIA E QUELLE PRECOLOMBIANE; UN ALTRO, BRAINLESS ANDROID, CHE DIPINGE IL PROSSIMO FUTURO DELL’UMANITA’ E UN ALTRO CHE RACCHIUDE LE MIE SPERANZE: I GATTI E GLI ALIENI!
9 hai avuto esperienze riguardanti i bambini, visto che hai registrato la song for landeric?
STO CERCANDO DI FAR CONOSCERE A MIO FIGLIO DI 10 ANNI, FRANCESCO (PUSIO KRANIO NEI CREDITS DI ELEVEN) GENERI MUSICALI PIU’ CREATIVI; PURTROPPO LA MADRE GLI DA UN’EDUCAZIONE MOLTO CLASSICA…MA CHI LO SA, MAGARI FRA QUALCHE ANNO LE BUCHERA’ LE ORECCHIE CON SUONI ASSURDI! E C’E’ UN PEZZO DI PIANO SUONATO DA LUI IN LITTLE STARMAN…SE LO SA LA MADRE!!! (NO, NON ANDIAMO D’ACCORDO…)
10 gli ultimi 5 dischi comprati e gli ultimi musei visitati a roma
UN PAIO DI GIORNI FA HO COMPRATO IL PRIMO DEI RESIDENTS, CHE AVEVO REGISTRATO
SU NASTRO; ULTIMAMENTE POI HO PRESO AUTOMATING DI NURSE WITH WOUND (FENOMENALE!!!),
LA FOLIE VERTE DI B.AXIS & JDLP, OKTOBER DI AIN SOPH (NON COMPRATO,
MA AVUTO DAL GRANDE CLAUDEDI IN PERSONA), E TOWARDS THE EVENT HORIZON
DI JACK OR JIVE, UN GRUPPO CONOSCIUTO GRAZIE ALLA LORO DELIZIOSA PRODUTTRICE
TEDESCA, KIMSONJA;
PER CIO’ CHE RIGUARDA I MUSEI, ROMA E’ ASSAI SCARSA! CIOE’,
CE NE SONO MOLTI, MA MOLTO VECCHI E CON POCHE SPIEGAZIONI…COMUNQUE
SONO RECENTEMENTE TORNATO AL MUSEO ETRUSCO E HO VISITATO LA MOSTRA DEGLI
IMPRESSIONISTI…NON CONOSCO I MUSEI IN GERMANIA ( E NE SONO CURIOSO),
MA PER I MUSEI VADO A LONDRA!
11 i piani per il futuro?
PER LA MUSICA, STO LAVORANDO A UN NUOVO ALBUM E SE RIUSCIAMO A SUPERARE
ALCUNI PROBLEMI USCIRA’ PER LA FINE DELL’ANNO;
A PARTE CIO’, MISTY CIRCLES STA PER RISTAMPARE ELEVEN, CON UNA COPERTINA
DIFFERENTE.
Quale etichetta stamperà il tuo prossimo lavoro?
SONO IN CONTATTO CON TRE ETICHETTE: MISTY CIRCLES, NEKOFUSHAKTA E WHITE RABBIT, MA NON SO CHI PUBBLICHERA’; INTANTO C’E’ IN VISTA UNO SPLIT…SORPRESA!
QUINDI PREVEDO CONCERTI CON MUSPAT E NOVY SVET
PER ALTRI ASPETTI DELLA VITA, MEGLIO NON FARE PIANI
12 neim e’ una presa di posizione riguardo alla situazione economica dei paesi in via di sviluppo e del mondo occidentale; anche se il dialogo è necessario mi pare che in germania e in altre nazioni le sinistre vogliano strumentalizzare l’insoddisfazione per i loro fini politici. Se vedo la falce e il martello mi fa male lo stomaco..tu che ne pensi?
ALLA VIGILIA DI UNA NUOVA, PERICOLOSA GUERRA QUESTA E’ UNA DOMANDA
IMPORTANTE…ANCHE SE COME DBPIT HO SCELTO DI NON PORTARE AVANTI ALCUNA
IDEA POLITICA, DEVO DIRE CHE NON HO MAI AVUTO FIDUCIA NEI POLITICI (SE
ASCOLTI ATTENTAMENTE THE INVASION OF THE HUMAN MEN, IN ELEVEN, TROVI QUESTO
CONCETTO); IN ITALIA CI SONO STATI GOVERNI DI SINISTRA, DI CENTRO E DI
DESTRA MA NON E’ MAI CAMBIATO NULLA…MI PARE CHE VESTANO UN
COLORE SOLO PER GIUNGERE AL POTERE E LAVORARE PER IL PROPRIO TORNACONTO;
E C’E’ SI STRUMENTALIZZAZIONE, BASTI PENSARE ALL’ IMMIGRAZIONE
CLANDESTINA…NON PENSI CHE POTREBBERO FERMARLA SE LO VOLESSERO? MA
SICURAMENTE FA COMODO A QUALCUNO…
RIGUARDO ALLA GUERRA, NON CREDO CI SIA IL BUONO E IL CATTIVO, MA SOLO
INTERESSE, DA ENTRAMBE LE PARTI…E SU TALI ARGOMENTI LA STRUMENTALIZZAZIONE
E’ OVVIA.
L’LP DI NOVY SVET IN NEIM E’ DEDICATO AL RAGAZZO RIMASTO UCCISO
DURANTE IL G8 A GENOVA, IL CHE HA CAUSATO UN PO UNO SCANDALO, MA A PARTE
CIO’, RIESCI SOLO IMMAGINARTI LA STRUMENTALIZZAZIONE CHE C’E’
STATA IN ITALIA SU QUEL FATTO?!?
QUEL TIZIO E’ DIVENTATO UN IDOLO, UN SIMBOLO…UNO STRUMENTO,
QUANDO NON E’ ALTRO CHE UNO SFORTUNATO CHE STAVA PROBABILMENTE CERCANDO
DI UCIDERE QUALCUN ALTRO E SI TROVAVA LI COME UNA MARIONETTA MOSSA DALL’ALTO…
NON MI PIACE IL GOVERNO ITALIANO MA NON MI PIACE NEMMENO LA SINISTRA.
13 Un’ ultima parola?
BEH, SI: “MIAO” !
***************************************************************
unreleased interview by shaun hamilton - 19.07.2003
(1). Tell us about yourself, your background, your thoughts (for
those of us outside of there) on Italy, and anything else you think is
of importance.
before venturing into answering this somewhat challenging deluge of questions,
let me thank you and our (hopefully) many readers for your interest;
ok, now I'll breathe deeply...and off we go!
after several years of partecipations side by side with the most relevant
members of Roman underground scene, I set off for an entirely new adventure
when, in the year 2K, the leader of the sperimental/post-industrial band
“Mushroom’s Patience”, Raffaele Cerroni, summoned me
to record my strangely-tuned trumpet in a couple of tracks for his forthcoming
album “Roma-Wien” (Oktagon/Misty Circles) , soon to become
a smash hit..
before that I used to recite poetry in clubs and pubs as well as helping
friends in performances and had some theatrical experiences; the poetry-years
were very intense and fulfilling as there was a bunch of insane chaps
eager to vomit their own creations onto an object-throwing audience...
great days; we still do some reading nowadays, but they are few and far
between;
needless to say, we wrote our own poems, although a coupla times we read
beat generation's poets' works...
I've used some of my old poems as lyrics for DBPIT, too...
back to music, I started playing when an alien spaceship abducted me...I
woke up on a steel stretcher...there were flashing blue lights all around
me and these humanoids with a large, bald head muttering something in
an unknown language...then they set me free not without embedding some
mysterious chip in my brain to force me wander the Earth spreading their
message by means of my music...er, well, you don't buy this, do you?
actually it's a r'n'r band, the Sentinels, who are responsible fot the
outcome of my musical adventure...they gave me a trumpet as a birthday
present, saying: "learn to play it then join the band!"
after one week, without having the least idea of how to get a proper note
ot of that brass thing yet, I was on stage in front of a very large saturday-night
crowd which soon became wild and wanted to beat the hell out of us...we
made a narrow escape through the back door...oh, my! maybe that was the
music-gods sending down a message: "give it up!!!!"
in spite of such a sign, I kept on playing but somehow I felt incomplete...The
Sentinels are fun but they are so inconsistent and badly organized that
in 20 years or so, they didn't record anything!
when Raffaele asked me to play for Mushroom's Patience I immediately felt
I was on the right track! I owe so much to him and ClauDEDI from Ain Soph;
they and Juergen Weber (Novy Svet) prompted me to venture into a solo
production: thus "Eleven" was born, an Ep in very limited edition
of 111 copies produced by Misty Circles.
"Eleven" recalls a personally cabalistic number which has an
eerie, almost magical recurrence in my life (hence the number of the copies,
too...) and is a crazy combination of the sounds of the mental chaos (marasma
mentale) i.e. detuned trumpet, exotic animal calls, human laments, self-built
and electronic equipment, to which the very ClauDEDI and Raffaele Cerroni
gave their personal contribution as well as other well known artists,
namely Novy Svet, Marco Deplano, Richard Benson and more.
After that DBPIT was internationally recognized as a new entity on the
(post) industrial scene...whatever the term "post-industrial"
could mean...!
I played live with Mushroom’s Patience twice in Italy and twice
in Wien, including the 1st hau ruck! Festival, and in Germany (Glauchau,
may 2003); I also played live in Roma, dec 2002 at the “Noi e il
Mondo” release party both as DBPIT solo, and as a guest of Novy
Svet, and again with Novy Svet, in Bologna two days later, and in Wien
at the Klanggalerie festival (may 2003). Since jan, 2003, I'm also in
the line-up of a up and coming Italian noise band: Macelleria Mobile di
Mezzanotte.
I was recently flanked by a duo of Roman improvisers, the Lendormin, who
I really get on greatly with!
...but guess this will be more thoroughly dealt with later on...
all in all, I haven't been on the scene since long, but I do hope I'm
here to stay, as I like it a lot!
as for my opinion on Italy, in general...well, guess I'd best keep mum!
(2). From the bio I read on you, you played trumpet for a group
called Mushroom’s Patience. What is the story of this group and
is it still active today?
well, guess I've already partially answered this one…let me make
it clearer, Mushroom's Patience is Raffaele Cerroni's band and it features
also Juergen Weber (vocals) and ClauDEDI (sampler); I'm his trumpet player,
that's not a project of mine; Raffaele is a musical genius, and an all-round
artist…pretty much ill-tempered, as only a true artist can be, too!
with different line-ups and embracing different styles, the band have
been playing for some 20 years and still counting…! backed by HauRuck,
it's more active than ever!
(3). Where and when did you start to play trumpet? Did you receive
training in a school band?
ok, now u already know how it all started…as for training, I did
attend a music school, but soon became a dropout!
I kept on going to my teacher's for a while, till he kind of told me "let's
face it, Flavio: u're hopeless! stop wasting your money on lessons, let's
go have a beer and just…be friends! no hard feelings!!!"
so my musical education was not exactly an academic one!
but I guess technique isn't all that important, as in any other form of
art…I've known a great number of very good players, technically
speaking, who I'd never call "artists"…
(4). Do you play number tablature on the trumpet (if there is
such a thing, I’m not really sure) or do you use classical tablature?
Or do you improvise like, say, Louie Armstrong?
…mmmhhhh…quite a technical question…well, y'know, fingering
on the trumpet's keys is not like on the guitar's or the keyboard's, you
have to match the right key-combination with your lips' tension…and
keep your finger crossed!
I do improvise a lot, anyway, it's kind of liberating…usually I
start playing a tune or a scale then take a totally different direction…I
try to hone a sound to its most extreme conclusion!
(5). Do you have any jazz influence behind your music and your
trumpet playing? If so, what are some of the jazz musicians you look up
to?
no, not really; apart from the usual Davis, Armstrong etc..I know very
little about jazz…the most jazz-like stuff I used to listen to was
the Italian swinger Sergio Caputo…I used to like him mostly for
his absolutely crazy lyrics, though!
(6). Do you play any of the related instruments such as saxophone
or tuba?
of course not! I've just about enough trouble with my trumpet!
but I play a range of self-made "things" such as sound hoses,
pipes, miked household items, broken dolls and the like…
(7). On the song, "Psycho Gate", is that voice talking
a sampled one, or is it a natural voice?
that song is the second of a three-track suite dedicated to the lunatics…the
terrible voice you hear is my own, (guess we're all addicted to feeding
our own ego…) quoting some threat I received from my former wife…
(8). What kind of effects/treatment did you use on the voice to
give it that fade and echo effect?
…a fade and an echo effect! ok, sorry about that…I mainly
use a lexicon fx machine to process all my sounds; just can't remember
which fx I used for that particular song…why, I think I'll never
be able to do twice the same thing!
(9). How and why did you get the name "Der Bekannte Post-Industrielle
Photographer?"
ah, that was but a self-appointed nick I used in a newsletter after Cynfeirrd
put two shots of mine in a cd booklet…
(10). Do you do any photography on the side? If so, do you use
it ever in your album art?
I've always been into photography, I just love it! all my office walls
are covered with photos I took and I relish upon people's compliments…
yep, the covers for "Eleven" feature pics of mine
(11). Are you on a totally solo adventure now or is this just
a temporary thing?
well, I still play for Mushroom's Patience and Macelleria Mobile di Mezzanotte,
and have recently started this new collaboration with Lendormin; besides,
DBPIT is my solo project which I do hope will lead to new publishing deals…I
think a personal project, or band, or whatever, is the best way to express
oneself; when u play for someone else it's ok, but in your own songs you
can toss in whatever comes from the back of your mind, y'know, sounds,
words, love, hate…distress, mainly!
(12). What are some of the differences between the first and second
cover of "Eleven", for those who haven t seen it yet (including
me haha)?
it's two different pictures of the same piece of trumpet…actually
it's what remains of the very first trumpet I've had, which happened to
be destroyed in a fight between me and missus…
(13). Why the decision to redesign it?
because the first release had to be a limited edition of 111 pcs…the
second needed to be distinguished somehow
(14). Tell us about your collaboration with Lendormin, and about
the incident with the childbirth during your rehearsal.
ah, the Lendormin are two young guys…great players, they love the
Ramones and Zappa and have had a cd published by Wallace records…since
they like improvisation, thay asked me to collaborate with them and I
was immediately hooked on them! We did two gigs together so far and are
planning a new cd…
…but we didn't rehearse in a maternity ward, we didn't!
we happened to be playing for the first time ever together at the same
time ClauDEDI's daughter, Flaminia, was being delivered…poor child,
if she only knew…!
(15). You mentioned having a very limited edition CD dedicated
to the child, Flaminia, and it s birth. Any chances now we ll see this
CD in the future, or is it already out of print?
ah, yes ,veeeeery limited…a 1-piece, one-track cd-R we gave her
as a welcoming present…
but what do u know? when we die in a plane crash on our way to the Madison
Square Garden, that cd-R quotation will skyrocket and she'll have plenty
to live on !!!!
(16). You recently made a song for a dance compilation mocking
dance music. Do you have any reservations towards the club and dance scene
out there (I m still odd about the term dance culture, since people have
done it since the beginning of time. Haha Indians are a dance culture
I suppose)?
"Circolo della Vela" is not a dance compilation at all: it comprises
and unites in a common soul a bunch of contemporary Italian artists who
have all send their tracks to a mysterious compilator, a mastermind who
had contacted them by email…there are neo-folk, industrial, power-noise
tracks and also a pop song…I gave them "Bekydance" out
of no particular scope; I did that track to mock techno-music but I like
clubbing and dancing myself even though I'd rather dance "Dead Souls"
than Eminem!
(17). What, if someone dared attempt to dance to that song ("Bekydance"),
what would one look like?
guess they'd look like agonizing terminal patients struggling against
death…
(18). You also were recently involved in a very unique stage show
involving a Roman stage and some digital cameras. What was your costume
and what got you to join in the fun and insanity?
that was the idea of a fellow countryman of yours, Chris Blazen, who put
up a 4-night show he called "liveTV", inviting several guests
and filming all the sets…I went on stage with Lendormin and it was
fun…one of them, wearing a cock (…the animal, that is…)
mask, played a contact-miked bowl of marbles and the other, with a fancy,
sweet she-pig mask on his face, played the guitar…I was in the middle
with my instrument, wearing a self-made mask (I use a rather lewd pig-head
mask for Macelleria Mobile…) with a half-cd stuck on top of it,
like a crescent…or a crown, or a rising sun…it's up to you!
(19). Do you ever experiment with downtuning or detuning your
trumpet, or even using things like distortion pedals on it?
actually it's the only way I play…my sound is always filtered through
the lexicon and sometimes through a guitar distortion pedal, too…
(20). With all the reissues of your work, including your debut
Cd, are there anything like media videos or additional tracks involved?
no, no videos nor bonus tracks…so far; but in the future, who knows?
we've plenty of ugly faces to show you!
(21). In some ways, the sound is similar, at least in principle
to another band we love here at ChainDLK, Big Block 454, and it s Krautrock
style. Would you say there is any Krautrock or progressive rock influence
in your music?
…mmmhh, no, I shouldn't say so…Mushroom's Patience's is more
progressive-oriented…DBPIT is…alien!
(22). Where did the name Mushroom s Patience come from?
well, y'know, Raffaele should answer this, but I know he took the name
from an old Japanese tale…
(23). For those who haven t heard the two, what are some differences
between Mushroom s Patience and your work solo?
although the trumpet is "my" style, the music altogether is
totally different; Raffaele's songs, different from one another as they
could be, have, y'know, a structure…a beginning and an end…mine
are kind of chaotic - not by chance did I write "It's the sound of
mental chaos" on the inner cover of "Eleven"…and
I experiment more…and use less samples! I hate samples! taken from
other songs, I mean; otherwise I largely use samples out of my own sounds;
(24). With a lot of bands in this style, many lean towards a Dadaist
view on creating music. Is this the case in your work?
kind of…I love Dadaism; tossing musical notes up in sky then play
them random as they come down to Earth…
(25). With both projects, do you prefer to play more technical
or more improvised, esp. when playing live shows?
when I play for Mushroom's I'm bound to the structure of the track;
DBPIT usually starts off with a tune then is up to the mood of the moment!
(26). Which would be the case when you re playing something very
spur of the moment like the stage show in Rome involving the animal costumes?
wearing strange disguises doesn't mean there's no planning…we rehearsed
the gig, even though we were perfectly aware it wouldn't turn out as we
prepared it!
(27). What are some of your musical influences (as in bands)?
I've listened to all kind of music, most of which I now disregard…
In the experimental line, I love The Residents, Tuxedo Moon, Nurse With
Wound, Einsturzende Neubaten, C.O.Caspar…I like 80's Techno-Pop,
Dark, even classic Rock, Rock'n'Roll, Garage Rock and Blues…I'm
a big fan of the Blues Brothers, as you know, and of The Fleshtones…I
think I've been influenced by each and every band I've listened to, somehow…but
mark my words, "influenced" doesn't mean I try to be their way
at all! I believe uniqueness in art is everything!!!
(28). What are some of your inspirations outside the musical realm?
mainly the people I deal with…and the hate I feel for them!
hate is even better then love at inspiring art forms!
(29). With the term post-industrial always lumped on your head
(for whatever reason) by magazines and such, do you ever get lumped in
with groups who are actually post industrial, like Cabaret Voltaire or
Einsterzande Neubauten?
oh, well, I dunno…guess I'd just lump it if it ever occurred! and
with pleasure!
(30). Tell us a bit about your involvement with The Silent Pistols,
which was one of your first adventures into music.
in the beginning the Pistols were a ghost band…they issued three…"works"
(namely a blank 12" vinyl, an empty 7" sleeve and a telephone
directory) just to puzzle critics and mags…anyone could be a Pistol
and the Pistols were no-one…then, some 10 years ago, we did a couple
of gigs playing evey sort of junk…at the time I wrote a lyric, "I
went Home", I've used for my second solo work:"Total Lack of
Vital Energy" (in "Noi e il Mondo" - Nekofutschata 2002)
then the Great ClauDEDI thought the time was ripe for a new blitz of the
Pistols and we played live on the net on march, 3rd, 2003 (=3.3.03); maybe
a live cd will be issued…
(31). Could we ever see you collaborate with them again in the
future?
of course! april, 4th, 2004! (=4.4.2004)
(32). I read somewhere too where you are rumored to be involved
in a band with Adriano Vicenti. Is this one still functioning and are
you still part/ever were a part of it?
yeah, as I've mentioned it before, it's the Macelleria Mobile di Mezzanotte…a
noise band that makes large use of sampling…actually it's not my
cup of tea, but I like the settings and its live acts…Adriano turns
very violent on stage and as he shouts out loud his deranged lyrics about
serial killers and I blast in my trumpet wearing the uncanny swine mask,
we mime rude sex and beatings…guess the audience like to see the
show!
(33). You also stated that you have an interest in Ancient Egyptian
civilizations and pre-Colombian South America. Any chances of seeing these
musical elements, such as Egyptian war rhythms (ala Nile, the death metal
band, or Muslimgauze) or Samba involved in your music?
samba? please…the only part of samba I like is the bottoms of the
dancing girls…
I'm very much into archeology, though, and have read a whole lot of astonishing
things about lost civilizations…I wish academics would open their
eyes and come to terms with the fact ours is not the FIRST human race
to walk on Earth…ah, the stupid things we've been taught in schools!
(34). You recently appeared on a comp from death-folkers Der BlutHarsch,
and some of the songs such as "Little Starman" have that neo-folk
appeal to them (among many different feels and elements of your music).
Have you had any success in that scene and what has the reaction been?
guess there is a bit of confusion here…DBPIT has never been in herr
Julius' roster: he produces Mushroom's Patience and they are also in the
tribute-compilation "Fire Danger Season", yes, but I'm not Mushroom's
Patience…my track "Little Starman" appears in the Cynfeirrd
compilation "Songs for Landeric", dedicated to the newborn child
of Alex's. that's a great 2-cd work comprising Novy Svet, Tony Wakeford,
Kirlian Camera to name but a few…I'm really happy with that partecipation…
(35). If given all the money you want for your dream show, what
would it be like? And where/why would you choose this location?
…that's interesting…what say under a crystal dome on Mars,
televised all over the galaxy?!?
and there would be green-skinned alien dancers all around and shooting
stars and rockets up in the sky…
why? maybe deranged nerve cells…
(36). This type of music is very rarely scene in a place like
Italy . What was the reaction to it at first from the Italian public?
generally speaking, pretty poor…I do have had some very positive
reactions but I think Italy is the real arsehole of the Earth as for art…wanne
be successful in Roma? put up a U2-tribute-band, then!
(37). Have you gotten to take your act outside of Central Europe,
into places such as Portugal or Britain?
no, but I'd love to…
(38). What impact does Italy have on your song writing process?
little, if any…
(39). You also work as a dentist during the day, from what I read.
Does the screaming and moaning of patients inspire some of your love for
noise and melodies?
yep, dentistry is what I'm forced to practice to make a living…and,
sure, the common noises I put up with every day are part of my…musical
background! people moan and I moan…
(40). With the animal calls on the CD, do you take these directly
from the sources (the animals) or is it just synthesized?
the cats are my companions, yes; the other animals, well, no I've never
been able to record the call of a Tasmanian Devil or a Whale, even though
I'd love to; but they're not synthetized, either, is real calls on tape
or cd
(41). I read in one of the readings you gave me that there are
self made instruments in the band. What are some of these instruments?
some of them I've already told u about; then there's an old hand-operated
washing machine I filled with hazelnuts, a car brake disc, the half-trumpet…then
there's my father's very old, totally detuned wall-piano…it makes
so weird notes!
(42). With the dentist element, ever thought of incorporating
drills and dental equipment into the sound of the CD?
done, already
(43). In the studio, do you play everything, with the samples
and such, all at once or do you tend to layer the effects?
having only a couple of hands and one mouth I do layer tracks; I use a
multitrack software and a pc…
(44). Do you use a tape machine or laptop for samples live, or
do you tend to do without the samples?
it's usually a cd with bases; no pc on stage, I don't like it at all!
(45). Do you ever do improvisation and just completely change
the song when playing it live?
rather…
(46). Any consideration in doing soundtrack work, such as to an
Italian horror film?
it'd be terrific! but I think Italian horror flicks are long time dead…
(47). Would you say your music has that Italian feel of love and
poetry to it (well, that s the interpretation we in America get), or kind
of countering to that feel?
…Italy, mandolino, pizza, mamma…no,no, my poetry is more like
Bukowsky's…as for love, what is it, anyway?
(48). You also did a compilation where you were to take two pictures
of landscapes in Europe and a song. What ones did you choose and why?
again a bit of confusion…no songs of mine in that cd, and it's not
even a compilation but a cd by "Hide and Seek", called "European
Landscapes" (Cynfeirrd); the artwork is made out a dozen images sent
in by various artists, including 2 of mine I took in London and Stonehenge
(49). What are some of your favorite films, by the way?
I simply love weird flicks, the stranger, the better…Troma's are
great! and Meyer's, Waters' and all the sci-fi and horror B-movies, including
Italian ones
(50). If given a chance to do music completely by itself, would
you give up dentistry?
Y.E.S.! by all means!
(51). Given your stance on marriage, would you ever play music
at a wedding if given the chance, if just to play in an elaborate setting?
…perhaps with a machine-gun!
(53). You showed me a part in an interview where you are teaching
your son to follow in your footsteps of playing music. How is that coming
along?
hard task! he lives with his mother and he's being given a strictly classical
education…like in times of old, piano lessons are part of one's
upbringing…he's attending them but shows no particular interest
in music…that doesn't mean he's hopeless, though; he's only 10!
(54). If you were to compose your dream song anywhere in the world
(for sense of atmosphere), where would you compose it and why?
at home, alone in my studio…maybe that doesn't sound original, but
that's the way it is…I keep collecting ideas when I'm out but is
back home I feel at ease, sheltered from the world outside, and can concentrate
on my doings
(55). Any plans to tour America or get distribution over here
for your works?
plans no, hope, yes! I love America and would very pleased with distribution
over there; so, American labels, take your chance with DBPIT: my music
is here for the taking!
(56). OK, couple of funny ones before we go, since I ve broken
your back with all these questions ;-)............. Why should marriage
be outlawed, according to you?
marriage is but a contract…taken out on the grounds of…feelings!!!
when you take out any contract with a business partner or whatever, if
u're not dumb, u read the fine print and think twice before signing…when
you walk down the aisle to get tied to a person whose smile had mesmerized
you, you don't have the least idea of what can befall you and how long
that smile will be that charming…yet you sign that darn paper…and
you're done in!
marriage could work in times of old, when it basically was a practical
pact: me hunt and bring home the bacon and go chasing women all around
for the pleasure of it, you raise kidz and keep the house… no feelings
involved!
(57). Chicago deep-dish pizza or real Italian pizza, which is
better? And would you take the pizza over marriage?
pizza is one of the major breakthrough of mankind!
no need to argue which is best, but it's definitely better than marriage:when
u crave one u have delivered to your front door, eat as much as you want
of it, pay a reasonable sum for it and don't even have to say "thank
you" !!!
(58). Ok, you are in a sax versus trumpet war with Kenny G to
the death. How would you vanquish such a bastian of suck?
I'd put a sock in his instrument!
(59). What are some of your plans for the future?
as for live shows, I'm going to play in a big festival in Italy next september;
as for production, I'm expecting two vinyls to be issued by an Austrian
and a German label, but I won't spill the beans now…then me and
the Lendormin are going to record a cd together..I've a concept in mind,
a story, I'm already writing the lyrics…that'll involve several
partecipations, a huge work!
(60). Anything else before we go?
stay tuned for more "Mental Chaos" !!!!
(61). Thanks for your time, patience, music and the interview!
I think the word is "grazie", isn’t it? If that means
something bad I didn't say it! Haha.
again, thank you for your interest!
***********************************************************
interview released in german on Equinoxe n°25, november 2004
The name of your project is unique. Nobody is ever going to forget (or remember it). I think I’ve read somewhere that somebody gave you that name. Is that true and what can you tell us about the origin of the name?
let me start by thanking you and your magazine for the interest in DBPIT's
detuned world!
actually I derived my name from an interview Mushroom's Patience gave
to Black Magazine some three years ago...I translated it from Italian
into English and the editor into German...when I read it I found it sounded
awsome! and kind of ...ironic, starting out a new project already called
"der Bekannte..."!
Flavio, you contribute to many different projects. Can you tell our readers something about them and also tell them what your role in these projects is?
in fact, my adventure in the industrial music world started as a collaboration with Mushroom's Patience; I learned a lot by working for Raffaele, he's a genious...he gave me a free hand as for the trumpet role in his songs as well as suggesting I should also do my own things...which I did! a number of other collaboration soon followed: the electro-improvisers Lendormin, the beloved Novy Svet, the power-noise project of Adriano Vincenti's, Macelleria Mobile di Mezzanotte, the French 47-Ashes, the neo-folk Calle della Morte and lately the nice industrial duo 900Staube and Thulesehnsucht...I guess it's interesting to notice these projects are totally different from each other, sometimes they even belong to different scenes, yet I think I manage to join them all with the same great pleasure...
What is for you the main difference between working with/for others and doing your very own work?
well, being your own boss it's obviously better...meaning, even if I can use Lendormin's Cristiano's help in editing (he's much more patient than me...), I decide what to do and how to do it; I want the track I'm doing to convey my own feelings and ideas...whereas when you do something for another musician, you should consider what he wants...that can be challenging, and rewarding, too!
How do you get your ideas? Do you wait until you are inspired or do you work within a certain time frame where there has to be a result at the end?
you can't do nothing without inspiration...at times there are deadlines, which is good so you don't fuck around, but I need an idea to work on...luckily, this wretched world doesn't spare hints!
You belonng to this so-called axis Vienna-Rome. In interviews all of you (Ain Soph, Mushroom`s Patience, Novy Svet etc.) emphasize that you have a lot of common musical interest and that you are also friends. How do those aspects influence you musically? What is characteristic of your friendship and what do you yourself get out of it?
I guess the so-called axis has changed a lot during the past few months, but I won't be looking deeper into this matter... what is left for me is a great experience, good friends and the urge of trying and be as "international" as possible...I wish underground culture people would be more united and willing to cooperate with each other, making a common front against ignorance and cheap tv-related culture that only wants to create braindead dummies...I really believe "we" have something to show the world, something that has nothing to do with talent and money...
Your main instrument (as the name of your project already indicates) is the trumpet. Something that is not necessarily typical of the subculture that you work in. What is so fascinating about that instrument?
...that, as you said, it is not necessarily typical of the subculture I work in...!
When you started playing the trumpet, was it that you started rather conventionally and later became interested in more avant-garde types of music?
yes, kind of...I mean, I took lessons from a very good jazz player and started out playing in a very funny r'n'r band, which I still love, but I soon discovered that that was not my way...I had no space, no chance to "create", and maybe not enough talent, but I think ideas mean more than talent...
Are you interested in (free)jazz?
...most of the times I find it very boring...needless to say, I like musicians like john zorne or james cahnce, but can that be called jazz?!?
We have read that you have treated/prepared your trumpet in a special way. Is this true and if yes can you tell us something more about it?
not really; I mean, I never play the trumpet "dry", I always connect the mic to an effect machine or two...and recently, I tried playing other self-made "instruments" like a cheese grinder, a hand-washing machine, a car brake disc and parts of a broken trumpet...that's fun! and I make a point in never using samples from someone else's works, nor computer-generated sounds; I only process and work on sounds I make or record...
In recent time one gets the impression that Italian projects (e. g. Mushroom`s Patience, Spiritual Front etc.) attract the attention of a growing number of listeners. Would you say that there are quite a lot of people and how do you explain that development?
well, Italian projects have been riding the waves for years, Ain Soph to name but one, and finally they gained a deserved better recognition, drew a larger audience…even though it seems to me they are generally better considered abroad; maybe Italy is not yet ready for something you can't dance with…!
What can you tell us about the new releases (“The outstanding story…” etc.)?
two new albums have been released in 2004; "TrompoZmo", on Butcher's House/Gattoalieno recs. is a compilation of DBPIT's early tracks and a couple of songs previously included in the vinyl "Noi e il Mondo"; on the other hand, "The Outstanding Story of mr. Mallory" is a concept album; I spent a lot of time on it and I love it very much; it tells the story of a left-handed, average man who, like in the comic books of the 70's, gets "superpowers" out of a nuclear blast; only, these powers don't help him a bit and make him suffer solitude and lack of love even more…could say I was inspired by my own situation, like to say I felt like an alien, unfit for this world…as for the music, I had a number of friends to participate, above all the Lendormin, Marco Deplano and KimsonJa; in the album, I play a leit-motif that kind of links all the songs in a single stream of consciousness…I think we did a very good job!
How strongly do the books you read influence your music?
well, guess everything one reads, hears or sees becomes part of him, somehow; but I never wrote a song on a particular book, even though a couple of them were actually inspired by some mysterious archeology books I read some time ago…and some by comic books, either, as well as monster movies! anyway, I wish I had time to read more…
You earn your money by working as a dentist. We’ve heard that you don’t like your job that much. Would you like to comment on it?
yep, wish DBPIT would sell 1.000.000 copies and I could quit tooth-drilling!
Are music and your work two diametrically opposed spheres or do they sometimes overlap (e. g. do you sometimes soothe/torture (depends on the eye of the beholder) your patients with your music?
well, actually I tried playing my cds while working, a couple of times…I had the most queer comments, like "are they killing someone in the other room?" or "nice music, doc, is it arabian?"…so I gave it up! but I did record some of my torture-instruments, especially for my first album, "Eleven"! so part of my everyday life do overlap with my music side!
In an interview you once said that your attitude towards life is one of disillusionment. What disillusions you?
almost anything...most of all I despise ignorance, which has nothing to do with the amount of "data" you can store in your brain, it is more...intellectual; it's wasting one's life I mean, ignorance that leads to violence and slavery and to everybody doing and liking the same things; I see so many wasted youths around, and that makes me really sad...I think, like I wrote in the "Noi e il Mondo" sleeve notes, that the world is verging on it's end...even though wars, violence and economic interests are no new feature, it seems to me that never before have they been so meaningless and dangerous...
When are you going to play in Germany and will we see you storming a pub in Sachsenhausen to drink some cider?
hey, I'd love that! I love Germany... hope I will play there some day, but can't tell you more for the time being... but, apfelwein or beer for me, bitte!
What can we expect from the future? Is there any collaboration in the
pipeline?
the one with Lendormin is there to stay; so is the one with M.M.M., I
guess, and with Thulesehnsucht we just started…I'm expecting to
do a split with Marco Deplano and Totenlieder… I'd love to collaborate
with more foreign artists, too!
and my dream is to drag my girlfriend into this; she's a damn good opera
singer and we already thought of something…but that would be telling!
sebastian and daniela lobstedt
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Der bekannte post-industrielle Trompeter deriva il suo nome dalla rivista gothic-dark-industrial tedesca "Black".... "il Rinomato Trombettista Post-Industriale" è una delle 'identità artistiche' di Flavio Rivabella, dentista (!) romano che per passione si dedica alle arti figurative, alla "poesia disgustista", al "teatro odiatoriale" e a "distorcere e modificare il suono della sua tromba, come a ricordare i lamenti e le sofferenze di cui è testimone nel suo sconfortante ruolo quotidiano di odiato/bramato essere". Un personaggio chiave della scena alternativa capitolina, dalle molte attività interessanti, portate avanti con classe ed ironia; sicuramente tutte da scoprire. In particolare "Eleven", ep prodotto da Misty Circles cui hanno contribuito tra gli altri Mushroom’s Patience, Ain Soph, e Novy Svèt.
Dal 1994 Rivabella è trombettista per il gruppo di surf-rock-spettacolare
The Sentinels; la sua tromba fuori tono conferisce un aspetto alterato
al sound della band e viene notato da Raffaele Cerroni, così dal
2000 inizia la collaborazione con il suo gruppo sperimentale/post-industriale
Mushroom’s Patience, partecipando alla realizzazione di alcuni brani
dell'album “Roma, Wien” (per Oktagon/Misty Circles) e all'intero
"Spirit of the mountain", di prossima uscita per Hau Ruch! Coi
Mushroom's, DBPIT suona dal vivo a Roma (Sonica, novembre 2001), Massafra
(Mind'rron, febbraio 2002) e Vienna (the Monastery, maggio 2002), mentre
per il prossimo novembre è prevista la partecipazione dei Mushroom’s
al festival “Hau Ruch!” a Vienna.
Ma per capire l'indole del personaggio non possiamo non citare le attività collaterali di Rivabella...
Parte del movimento artistico “disgustismo” - di cui ci parla di seguito -, con lo pseudonimo di “er Medicus” o “Ermes”, dal 1991 Flavio organizza e partecipa a numerosi reading di poesia e mostre d’arte nei locali romani, riscuotendo notorietà. Nell’agosto 2001 realizza un cd di poesie disgustiste sull’amore dal titolo “b-bionde (poesie amorevolmente disgustose)”. Sul fronte teatrale nel 1996 contribuisce alla fondazione della compagnia amatoriale “la Compagnia del teatro venduto all’asta”, ribattezzata poi “Compagnia del Teatro Odiatoriale”, con cui tutt'ora scrive e interpreta spettacoli.
Parallelamente, ancora sul fronte musicale, inizia una collaborazione
a distanza coi Novy Svet per la realizzazione di un album collettivo.
Amico da sempre di ClauDEDI, si trova vicino alle produzioni di Ain Soph,
che supporta nella promozione all'estero.
A questo punto del percorso ClauDEDI, Cerroni e Juergen Weber (novy svet) lo spingono a tentare un'esperienza solista; nel 2002 nasce così "Eleven", presentato con lo pseudonimo di D.B.P.I.T., in cui oltre ai contributi dei suddetti, si aggiungono anche altri artisti come Marco Deplano e Richard Benson. Il promo ep in edizione limitata a 111 (!) copie è prodotto da Misty Circles.
"Eleven" richiama un numero personalmente cabalistico per l'autore, nella cui vita ha un ritorno quasi magico (stesso motivo per il numero di copie...) ed è una raccolta di 7 (?) tracce oniricamente deliranti.. Sebbene sia presentato come "il suono del marasma mentale", non aspettatevi all'ascolto un ostico e scontato rumorismo. Di fatto "Eleven" è un'elegante e malinconica stratificazione di vibrazioni elettroniche, distorsioni, voci animali, lamenti umani e rumori "ambientali", che si dipanano lungo una plumbea bass-line, su cui ricama la tromba di Rivabella: mai eccessiva, ma lirica e distante, quasi venisse