interview whit Stendeck

Vox Empirea interviews today Alessandro Zampieri, better known in the intelligent-electronics area with the name of Stendeck. Welcome to our webzine!

> Hello to you all.

As you declared in the biographical notes, your original vocation came from the industrial genre. What were your musical experiences previously the Stendeck project?

> I have worked on projects ranging from metal to electro dark. It was my first experience and I finally decided to work alone and concentrate myself on my own music.

The first album "A Crash Into Another World" from 2002 was self-produced. Actually do you consider it as your official debut or you entrust this role to the next "Can You Hear My Call" published in 2005?

> I consider "A Crash Into Another World" as a demo release and "Can You Hear My Call" as my first effective album, being it also the first one released under a label with a distribution.

Focusing the analysis on "Can You Hear My Call", did Mike Wells work significantly in the drafting of this second album published at the time by the now extinct Geska Records label? Even if the style of composition that your pour into your creations comes from your own imagination, how much do you think there was and there is of the the U.S. Gridlock style in the Stendeck's music?

> Mike Wells has worked simply on the mastering process of the albums "Can You Hear My Call" and "Faces". To the point of view of composition and arrangement there aren't been direct contributions from him. Of course, his music was and still is very significant in my musical journey.

For the Geska Records has been published the third album, "Faces", released in 2007, followed in the 2009 by "Sonnambula" and then by "Scintilla" in 2011, these last ones published by the famous U.S. label Tympanik Audio. Did the transition from the Geska Records to the new label an opportunity to rectify your own style, or your music print has never undergone substantial changes over the time?

> There were no pressures or instructions from the label during the making of my album. These records are created intuitively and emotionally. I mean that retracing the various record releases there's a definite evolution in my compositions, but this happens spontaneously, I don't never pose none constraints.

I note two details: the titles of your songs, with few exceptions, are particularly large, as if you wanted to express by those words the majority of their intrinsic meaning. The second element is that your creations are purely instrumental. Does exist in your songs a reason which replaces the absence of lyrics with the amplitude of the phrases that appoint the tracks?

> This "process" of communication even under the titles was born thanks by my brother Andrew. He's good to write and express feelings with words and also he's the person that knows me fully, so consequently he always understand what I want to communicate with my music. During the final processes on the realization of my records my brother gets burrow for weeks with my new songs, interpreting, searching for evocative and imaginary titles.

IDM - Electronica - Industrial - Ambient, these are the styles included in various dosages in your music. In which proportions?

> I do not know really. I think that "tagging" my music is more easy for the listener. However in the end it all varies from the inspiration and from what I want to express.

The Stendeck project is mostly in constant search for electronic formulas that possess as indispensable foundations the elegance, harmony and penetrating atmospheres. In some episodes of your first two releases I found also the integration of acoustic instruments like the violin played by Mattia Colombo and the guitar by Marcel Ventker, as well as the voice belonging to Nicholas Poretti. These "human" elements combined artificiality with the machines were able at that time to bring out an hybrid sound at which you seem to have temporarily renounced in favor of specific synthetic elaborations. What is your opinion?

> I have not renounced entirely to the "acoustic" sounds, as indeed I still integrate several piano parts. However it's also true that I no longer had collaborations. Maybe in future there will be more, but until now I have no more felt the need.

Planning sound forms like yours is not simple. The intricacy of the percussive textures, the dissonances and the complex sequencing interact beautifully with the majesty of the pads, so the atmosphere are transformed punctually in long moments of ecstasy. Drumming, arrangements, programming: which are, specifically, the technical points of departure in a typical track by Stendeck?

> Sometimes I start from the rhythmic composition, sometimes from the pads and sometimes even from the piano. When I find myself in front of a sound, a melody or a frequency that in touches my deepest emotions, then the compositional process is operated.

You live in Lugano, so is natural that I ask you what sensitivity feels Switzerland about the alternative music scene and, more specifically, on the electronic side. What is your opinion about this?

> Unfortunately in this land there isn't a particular focus on the music genres most alternative or of niche, so there are few events and places where I can make shows.

Now we come to nowadays: an important event has recently enhanced the multimedia publication of Stendeck: the simultaneous online loading on Vimeo and Youtube portals of the "Catch The Midnight Girl" video, a great track taken from the album "Scintilla". The result guarantees a great visual effect: tell us more details of this great sequence of images, its technical realization and why you selected the video version of this very special song.

> The choice has fallen on "Catch The Midnight Girl" because it is one of the more energetic and direct songs of the album "Scintilla". The director Andre Todaro has created a beautiful video. The realization was a great challenge considering the great difficulty of the underwater record shoots. Were many people who participated on this work and everyone of them has really done a great job.

Abstraction or rational calculation: which of these two elements more inspired the structuring of your sound?

> At first the "abstract" dimension. Then the "rational calculation" succeeds on the phases of arrangements.

After the publication of the "Catch The Midnight Girl" video, what other projects are you conceiving for the immediate and next future?

> I'm mainly working on a new album, for now I have few anticipations to provide.

As many active musician from the underground music scene you seems more focused on the substance of what you compose rather than its effective amount or its economic return. Playing only for passion, then, it turns in the materialized externalization of what you feel inside, all this not contaminated by any venality. However, do you really consider yourself completely and permanently free from any commercial recall?

> I think so, and if one day I had to decide to try to do something more lucrative, it would certainly not as "Stendeck".

Definitely, where do you take the energy that makes possible the composition of your music?

> I take it from my life, from my everyday experiences, what I see, what I a certain sense my songs are my diary.

Alessandro, Vox Empirea webzine wants to thank you for your time: in the next lines you can direct a personal message to our readers!

> I would like to thank all those who support me and I hope to have also the opportunity to play on your parts in the future!

(* by Maxymox 2012 per Vox Empirea webzine )