Interview with Corazzata Valdemone


This new-page interview of Vox Empirea is dedicated to the solo project called Corazzata Valdemone: I am pleased to present you to the readers!

> > Hello Max, thanks for the support and the visibility you offer to my project, it is always a pleasure!



To begin I want to ask what is the origin and the meaning of your artistic name, "Corazzata Valdemone". Moreover, which direct relationship linking the sound that you yourself define "Totalitarian-industrial" with the appellation of your project? And last but not least, what inherent message do you entrust into the music you compose?

> The name of the project comes from the need to combine its several cores, in fact I tried to combine a sense of the majesty of the term "Corazzata", the love for my beloved homeland (Valdemone is the ancient name of the area where I live), and the mystery that comes from the union of the two words. It is said that the term Valdemone is of Greek origin and was used during the Arab invasion of Sicily to indicate that the inhabitants desisted in the fight and they did not abandon their faith. The relationship between the name of my music is derived from the importance that these terms have in my human background: invincibility, faith, struggle and pride are issues very dear to me. Regarding the last part of your question, I can say that Corazzata Valdemone keeps within it a single clear message: in life there are only black or white, male or female, left or right, honor or cowardice, and so on, there are no shades or half-measures, take it or leave it!



Your artistic biography is very wide, studded of stylistic variations from the original neofolkish trends later converted into your current sound, but also od a discographic way at first confusing, inconvenient for its content and then gradually absorbed by the public and the specialized press. Do you want to talk about?

> As most of people know, my artistic debut came in 2003 with the project Kannonau, who I accosted to Corazzata Valdemone right now, where I love deal with issues and sounds very different compared to the dramatic themes of the original project. In 2008, my experience with Kannonau unfortunately ended so slowly, so gradually I tried to pour out part of those influences in the songs of Corazzata, that I can finally feel emotionally complete. If indeed the first compositions of Corazzata were primarily focused on the impact, since some time I have shifted the focus to more reflective parts arriving in recent times to compositions entirely acoustic that represent the most spiritual side of my artistic ego. Respect to the contents of my compositions I can say that they remain exactly the same as the beginning, just the people started to understand the spirit in which I give life to my compositions and they've metabolized the politically incorrect approach. The strong controversy of the early years seem to have declined in recent times, especially considering that in the beginning I was only scorched earth around me, but nowadays it seems that the music critics too, except for a few diehards, do not consider me any more as a public enemy.



Which are the main obstacles against which you have to fight to be able to express your thoughts to the outside world? Reflecting on this specific aspect, your music genre symbolize the foundations of your beliefs, but it is equally true that it is currently confined to a limited circle of admirers. In addition, most of the media tends to obscure what they feels "inconvenient"...

> The main obstacle that hinders the path of the Corazzata Valdemone comes from stupid fear of those who being in his hands a product so explicitly, for fear of they being seen as collaborators, they refuse to review, to distribuite or produce me and even, in the the most extreme cases, I found people who have refused to print the graphics of my works because it considered against their ideas. It exists the conviction that those who make way for a project like mine, they married the aesthetics and themes attached to them, so that they too can be branded as awkward figures into a society increasingly "politically correct" and right-thinking. Of sloth I do not care, those for who I feel sorry are those who grow in their breasts my same ideals but, fearing the inquisitorial judgment of the masses, they prefer to continue to creep into the shadows. Newspapers, webzines and fanzines that are very classist and I can say that too many people tend to obscure each release apparently compromising.



Discographically you are active with many releases: do you want comment the the work that you created as Corazzata Vademone that more than any other has prove a winner?

> I don't know exactly which of my works can be considered "successful", I'm proud of most of my releases and, although it tends to consider the last jwork is always better than the last, I can say that each of them have different atmospheres, so it makes me impossible to compare them: starting from the same basic sound they've inside very different atmospheres. Take the example of "Manipulations", which more than any other is considered to be the most violent and one-way episode of my discography: it would never compare to "Adunate", where instead there are many atmospheric parts.



Geographically you come from a land rather refractory to the alternative sound. Do you observe a recent change in this trend or you continue to take the best satisfactions beyond the boundaries of your region? Moreover, "Nemo propheta in patria"...

> Sicily is a place that, consequently of its geographical position, is much affected of its "isolation" which it's reflected on many social aspects, not least on the musical contest. Other regions of Italy interact between them with an easier ability to circulate bands, musicians and fans that with their movements create the so-called "scene". Without this circulation, it follows that the scene is very weak, and the same thing is about the interest for niche music genre as our, which, however and fortunately, does not reach the ears of the general public and is limited to those who listen to these sounds only for passion. Despite this almost complete absence of a music scene in which I can position myself, I can say that in my small way I was able to perform in a couple of events attracting a lot the interest of the public, thanks to the fact that for many of them mine it was a new music genre, while for all those that already knew it, it was pleasant to listen to industrial music without having to go to Rome or to more higher cities.



Now tell us in the details about your new split-album "Sex Nazis & Noise Und Roll" realized with Steve Bagman, an English-project of power-electronics/noise orientation. What do you expect concretely from this work?

> "Sex Nazis & Noise Und Roll" begins in 2010 when I met Steve and we started to exchange files, at that time he had just founded his own label Purge Electronics with which there was an idea to make this split. The basic idea was to create a kind of concept album focused on the 80's Nazi Sexploitation Movies, and in fact - now more than ever - my tracks reveal all my love for that film genre. The album is a classic split album with three tracks for project and I am involved in some very special songs in my discography. From the point of view concerning the atmospheres, if the previous album "Adunate" enjoyed a strong martial sound, today this component has beenn temporarily set aside to give vent to the experimentation that characterizes these new compositions. Regarding the music instead, the opener "1000 Anni Ancora" is a very atmospheric ambient track in which I drew inspiration from the famous collaborations Lustmord of the album "Juggernaut", or Brian Eno and Robert Fripp. I liked the idea of putting the guitar parts on ambient sections so I involved my dear friend Nerio from the black metal band Art Inferno, who did an impeccable work. After this there are the 3 pieces by Bagman, with its classic wall of white noise, while with the following "W Gli Schiaffi" I think I conceived the most futuristic song of my discography. It is a suite of 17 minutes in which I experienced a style somewhat similar to Nurse With Wound and Die Tödliche Doris, of course revised in a totalitarian key. The last track is a uncontrolled splinter noise. This work would have to see the light in 2011 but due of problems with the Steve's label, after some time I arranged with Claudio and Fabrizio for the realization of this work. Regarding the expectations of the public, I'm sure there will be much surprise for all those who were expecting from me the "Adunate" sequel, but for this concept I decided to experiment different sounds. They can still be reassured to know that the next full-length album will be soaked again from that kind of atmospheres so dark and martial.



The previous album "Adunate" was issued by the German label Castellum Stoufenburc. How did you get in contact with its boss Dennis? What was his reaction when you've submitted him your music for the first time?

> "Adunate" is definitely one of the works of which I am most proud, so, after the unsuccessful cooperation with the previous labels, I prefixed that for this new album I would have to count on a new label, professional and especially European. I contacted Dennis, who since that moment he had produced a few number of releases but that he answered to the identikit I mentioned: I suggested him this work and he was immediately enthusiastic. I remember his justified concern when I showed him all the graphic art, because in Germany is forbidden to draw some ghosts of the past which, punctually, they were present in abundance in my artwork. We changed a part of the back cover and we sent the copies to print, but the factory refused to do the work considering it illegal, forcing us to change the factory - no the artwork - with consequent loss of time. In general, Dennis was impressed so much from my work to ask me if I was interested in working with him in his personal project Waffenruhe for a song of next publication. The song is called "Roma" and sees me as guest singer.



In 2010 you released "Manipulations", an interesting and rare experiment made with Fabrizio De Bon alias Fukte, alchemist of the harsh-noise/industrial theorem. Which memories have left into you those eight tracks?

> "Manipulations" is certainly the most unusual work of my discography, as I have tried to set aside samples, marches, rallies and so on, in favor of a sound more noisy brutal and direct. It's a concept album centered on the domination of the masses, brainwashing and practices of thought manipulations, it was really an experiment very important for my artistic growth. The album was released by the personal Fabrizio's label called Toxic Industries, in a limited edition of 38 copies packaged in a beautiful rusty metal mesh that - of course - were almost immediately sold out. Fabrizio is a great expert on the subject, he's able to control perfectly the sounds, so, after having worked on this work, I have had the pleasure to avail of the his talent also on "Requiem Della Casamatta", appeared on "Adunate", as well as on stage at the Post Atomic Youth Festival in April 27, 2012.



What is the age target of the audience devoted to your music? Does it receive more support among a young audience or its cryptic meaning is perceived by people musically and by birth more mature? In practice, if it's possible to catalog and describe it, what's the exact profile of the ideal Corazzata Valdemone's listener?

> I had never considered the birth aspect of my potential fans, but now that you ask me I must admit that most of my followers - fans is a word too snooty - tend to be over the age of of 30. If I wanted to be unsympathetic I could say that the younger ones are the ones that seem most excited for the noise, while the more experienced ones appreciate more the conceptual side of the songs, and most importantly are those who buy more copies, (laugh). However I want to emphasize that there isn't a listener "type" of Corazzata Valdemone, as well as it would be easy to imagine for bands like Zetazeroalfa, Legittima Offesa and similars. My listening audience draws mainly from the industrial scene which is the biggest side - subsequently followed by the listeners from Martial, Neo Folk and, for the last, by a limited part of audience from the OI scene.



What were the artists and bands which, in your musical growth, have mostly influenced the improvement of your music style?

> If I had to consider one only name I would not hesitate to say Boyd Rice! He was been a true pioneer both in the musical contest and in the attitudinal aspect too, and he continues dictating the law about fashions and trends despite are elapsed more than 30 years after its debut: he's the equivalent of Madonna in the grey area! Other artists that I've always followed with reverential esteem are Death In June, Laibach, Nueva Germania, the brilliant Von Thronstahl, the Brighter Death Now and the MZ 412. These are the inluences most esily detectable in my sound, while concerning my musical growth, there are 20 years of extreme metal that I continue to support with enthusiasm and also a passion for the isolationist ambient. To complete this picture I feel deep love also for the bel canto, swing, the regimen little-songs of the music of the 30's as Beniamino Gigli, Carlo Buti and Fernando Crivel.



Going back to your last release, there is a song in its tracklist conceptually and expressively stronger than others?

> Surely between all the tracks that I used for this collaboration, the most significant one from the conceptual point of view is the opener "1000 Anni Ancora". The song is introduced by a long intro taken from is a provocative, irreverent and unfair cult film. It was the perfect intro for my album, so I convinced myself that I should try to write lyrics that could take the mood of that intro. It is a self-celebrative orgy in which us don't care of the fate that instead, a little later, it swallowed it all, blinded by megalomania. It on aspires to the immortality without seeing that death is already around us. Corazzata Valdemone makes no politic or propaganda, I like to see, therefore, only the "light" apperance side of the events without entering into the question. In the past, great artists were able to deal comically the stories about Nazism without disrespect to the war victims or downplaying the seriousness of the events. Taking the example of Totò in many of his films such as "I Due Colonnelli", or more recently Roberto Benigni in "La Vita E'Bella" and a thousand other cases to reach the Nazi-erotic current that is everything out that propaganda. If someone consider this material as offensive I think that he's clearly wrong!



Where it has taken place your last live performance? In which measure you succeed to involve the audience that stands in front of you?

> Corazzata Valdemone hasn't a great live activity, mainly due to a logistic factor, but also because I think that it is not always easy to reproduce on a stage the same atmosphere of the album. My last live appearance was in April at the Post Atomic Youth Festival in the company of Autocancrena, Nascitari, Fukte and TSIDMZ. At that time I have had as very special guest Fabrizio aka Fukte at the theremin, and I had the pleasure of hosting the performance by Nausicaa which donated to my live set atmospheres even stronger and more violent. I can say that the reaction of the public at that time has been very positive, just because everyone of us was public and artist at the same time and it has built a really familiar atmosphere between all the people who came to the event. I am convinced that the only way to engage the audience is to give them a good performance. I have always been opposed to the policy of playing anywhere and under any conditions, often in degraded contexts or even in private homes. I keep a romantic conception, whereby a live set must be an event that should be worth to follow and enjoy, a ritual every time that must catalyze the the audience's attention throughout all its duration. For this reason I avoid playing in places where people did not come just for the event, we risk being bored.



Thank you for this kind and interesting interview: now I ask you to direct to the readers of Vox Empirea a thought that would serve to them as perpetual subject of reflection.

> I conclude this nice conversation thanking you for the attention that you are dedicating from years in my project, and thanks also to all the people who in recent years has shown interest in towards of my music. The only invitation I would like to say to the readers of Vox Empirea is to keep alive in our hearts the identitary spirit of our beautiful Nation. The throwaway culture that now prevails in everyday life imposes us the debasement of our own values in favor of a fast and superficial lifestyle. Fast foods, exhausting rhythms of life and disposable music: this is what we are reduced to consume without realizing that our values are finished in a drawer to be cultivated "when I get a little time". Italy has been an headlight for thousands of years in which the nations of the world have made reference, while today it seems that the only thing which be able to raise some "national pride" are the matches of the national football team. This invitation is addressed particularly to young people, increasingly listless and ignorant, they don't know the history or, even worse, it doesn't care them. People do not study their traditions, don't know their typical dishes and aren't interested about their own society. We become a people who hides themselves behind an LCD monitor to send their proclamations on social networks in which, basically, neither were we trust. The Italian man was an icon of our country, but now we see around our city fleet of debauchees that make my skin crawl. Someone tell us that now certain ethnic foods are fashionable and we're all lined up in front of that peddler, someone tell us to listen to hip hop and we are all shake our ass on melodies that have nothing have to do with our culture, and at last someone tell us that we need to remove the crucifixes from our schools and our public place and we, like so many sheeps, we convince ourselves that it might offend someone, so silently we obey passively. Corazzata Valdemone always carries forward a campaign for the conservation of the ideals and memory. People call me "anti-democratic" because I have the courage to continue to prefer the Italian culture in a globalist and hypocritical society that winks to countries of dubious reputation, but with whom we do good business. The warning is simple and always the same: a people without memory is a people without a future.




* (by Maxymox 2012)