interview with "G"

Today the interview's space of Vox Empirea hosts "G", owner of the project Le Cose Bianche. You are welcome!

> Thank you to have me into your pages giving a voice to my project.

I've already described much about your artistic profile in the review of the album "Parabused", however I think it is right to investigate a typical aspect of who, like you, have transformed the initial foundations in other ones musically opposites. Since 2008 the industrial/power-noise/power-electronics is the dogma on which is based the style of the creature Le Cose Bianche, so different from the primary trends you taken years ago: more than the stylistic change, I would like you explain us how you may be able to interpret with the same passion and effectiveness an abstract synthetic-sound like the present modules and the physicality of the blues-rock, drum'n'bass and trip hop as those conceived in the past...

> A small answer is included inside your question. Is precisely the passion, to which I would add some expressive urgency, that allow approaching me naturally to both musical realities you're talking about. These are certainly the key ingredients. To tell you the truth I have never experienced a real change, the transition from a certain kind of music hemisphere to another was absolutely painless and also consequential. L.C.B. was born in parallel to my previous project Malameccanica, a few months after the foundation of the latter. I lived in a private dimension, I did not even make listen to my first songs to the band's members. It was like walking into a room, confining the confusion of the party in another one. Many of the sonorities that I'm following now privately with L.C.B. I already lived them outside the world of trip hop/ambient into which I was descended. I listened to several industrial and power-noise tracks which inevitably going to influence my approach with Malameccanica, many songs, especially those created between 2009 and 2010, the years in which L.C.B. was consolidating, had strong industrial connotations mixed up with more melodic sound solutions. At that time we were four members who recording the songs and each of us carried a musical baggage absolutely different from each other. There were those who came from the blues, some from downtempo, people like me who oscillated between rock and a certain morbid curiosity towards diverted musical realities, who was a DJ. The ideas flowed, even too much, and sometimes someone had, for better or for worse, give direction to these ideas. Often that "someone" was me, and I oriented all the music into darker shades, the same ones that I was living in the free time with L.C.B. These tints were then redistributed according to the project, and the sound that came out was similar to the one by Cabaret Voltaire, a little Tricky, a bit Massimo volume, by the spoken word. Although in reality, rather than Clementi, I looked at various voice solutions. I liked the idea of using the voice in Italian language, but with a yield point nearest at the whispered style by Tricky, at the strange singing by Blixa, at the perverse declaim by Tomkins.

Your music flows from the equipments reflecting the maelstrom of thoughts and the torment created by your mind, further inspired by a particular selection of readings and films. The radical manipulation of electronic sound that you're materializing can then take autonomous form, manifesting itself as a lively and tangible expression of what the brain generates within its intricate spirals. Such interesting theorem...

> In theory, it should always be so, for any kind of music one wants to play, in any form of art one wants undertaking. All definitely works in this way for me. Not only musically, but also in the pictures and in the artworks that I am going to develop. I have some issues, some cinematic and literary influences, obsessions, of morbidity, dark sides, as everyone else on this Earth. I just chose a way, even more than one, to convey all this, so certainly extremist, without too many compromises, but basically honest. It's a way to communicate especially with myself and to keep away from the everyday life some sides of me. Except that I can not always to do it. But this is another matter. There is no difference between what I do and what I am. There's no character. The only thing that must be underlined is that what I do is not what I am. Sometimes there is something better. Sometimes just nothing.

Furthermore, how and why it took place the demerger from the ethereal metrics like those originated from your previous project Malameccanica for reaching the darkest, overflowing non-melodies and the distortions contained in your current music register? Was it net the cut with the past or you still keep in your style some debris from the beginning?

> As I said above, the passing of the witness was natural. Sure, there were also human and temporal causes that conferred an advantage on the whole. The project Malameccanica was dying, human instabilities, small misunderstandings, people who were oriented elsewhere, me that I no longer had any will or interest in doing "glue" for the situation, absorbed by some personal life events that pushed me away from music, and in the few free moments the only music that spoke to me about myself was the "non-music". It should also be said that Malameccanica died in 2011 and they were already three years that I was manipulating industrial sounds in the silence of my afternoons. there was already a concrete coexistence between the two realities. When Malameccanica was buried, I did not do nothing else that concentrate me with more carnality on L.C.B. The break with the past, to be honest, wasn't net. Today, in 2013 as in 2012, I can define it so, but between 2009 and 2011, no. Many of the early records were trip-hop suggestions. Why? First, because some labels at that times they wanted them exactly so, they appreciated Malameccanica searching something like this, according with the instrumentation. I used constantly digital tools and the typical instrumentations as the electric bass. The compositional modus was similar to the previous one, long live-electronic sessions with heavy hours of post production. The only cut was about the voice, an element that I immediately deleted: I was convinced it was the perfect way to get away from certain dynamics. It was only the easiest way. Over the years, the true revolution that led to the change I had within me and then on the instrumentation, changing it radically, and even restoring the use of voice and of the spoken words by even more autobiographical texts. I realize only now how the life I've led and I'm leading today is inevitably the only ingredient able to condition what I'm going to propose. I have no way out. And I don't want to search for one.

On which conceptual specificity is therefore based Le Cose Bianche? To which audience have you addressed your project?

> I'll be honest: to myself. "I do not dream about anyone except for myself." It's a phrase of a song is not mine that I carry around for years. Since today I can not find a better one. There are many people who makes music for everyone, there are many people who's sure to be able to make music for everyone. There are many people who say to create music only for their one personal spur, but then they beg live sessions, reviews and acclaim. They're enough. I make a song, I listen to it. Do I like it? It's ok. Don't I like it? It isn't ok. This is the only method to judge. But I'm not not a kind of self-referenced one, so I also asked for and received advices and opinions both by remarkable people and by mouths whose advices was also pregnant during my days too. Then, the most important thing was to get free from these suggestions, amalgamating them until they fade away with what i consider my whole's vision. Only I can really know what I want from what I do. "Conceptual Specificity"? I think the only omnipresent theme in everything I've done is that on the body. And especially the dominance that has the mind on this latter and at detriment of this latter.

The media talk about you as an alchemist capable of creating sounds qualitatively and structurally superior than the most part of the similar artists, and this is thanks a proven executive ability combined with the desire to play beyond the conventions, experimenting very extreme sounds. By what criteria has been developed and is increased in the years this specific attitude, starting from the times of "Modern Holocaust" to nowadays?

> If they say that about me, I feel flattered. I've never followed these things. For a short period of time, during this last year, I have committed the unpardonable error to stretch the ear. And what I heard, typical of a country like Italy, are only speeches from the keyhole. Sterile bee stings. I say "unpardonable" because in five years I have always kept distant from certain types of dialogues with others, especially with the "colleagues" and with myself in relation to them, considering only few well done reviews, was them negative or not. Then, I realized that I was only wasting time and many of the sibylline voices came from enigmatic artists, as you say, near to me, and whose only practical knowledge was in not being able to do anything interesting. And since nowadays they continue to do absolutely nothing interesting. Luckily for me, I do not suffer of deliriums of omnipotence with which self-convincing me to realize totally innovative and experimental music material. I do what I want to do because it's the only thing I can do. And if what you want to do has already been done is much better. If what I'm doing has already been done with better results than mine, even better. At least I have some concrete reference points with which confront me and not only small country parishes where the priest says what is right or wrong, and where the most holiest one is a prostitute who works at home in the evening. The "criteria"? The only criteria was to follow the way that could get me closer to myself. The real increase, from a sonic point of view, they gave me the "machines", I'll never be tired of repeating how the transition to the analog mode did L.C.B. what is now, for better or for worse.

In a epoch in which the use of digital instrumentation is more and more preponderant, is least unusual knowing artists like you who choose for their creations the analog way...

> I'm not the only one. Luckily. Analog and digital. Lamborghini-Ferrari. Coca-Pepsi. Blondes and brunettes. Are all philosophies, schools of thought, parallel streets. You just have to choose and I did. How did I do? Simple. I listened, and I still today MB, Mauthausen Orchestra, Atrax Morgue, Ramleh, Sutcliffe Jugend, I loved those sounds. I simply limited to deepen the technical aspect of each project. And digging, the anachronistic analog adjective was everywhere. So I sold a lot of what I had got, I bought a full analog synthesizer, old and obsolete analog pedals as big as the tamper, I switched on the whole and I pressed REC. Also the composition line has changed through an almost philological rigor. Everything comes in a sort of "right the first". No over-recording, except for some sample movies or vocal line, no compression, a caressing post-production. What happens at the precise moment when I press and REC and when I switch off the machines, is the track that I'm going to export. Soon, I will give even greater rigor to the whole, recording directly on tape. Of course, the analog instrumentation has some limitations. But it has an immense merit: it stimulates you to turn these limitations into something else. Sometimes, this "something else" is called style.

What did it mean for you the collaboration with an outsider as Maurizio Bianchi? How much do you apply currently of his teachings in your sound?

> It 'was the culmination of a dream. When someone like Maurizio listen to your tracks and says, "OK!" means that something good maybe is really done. Maurizio Bianchi has always been for me as a putative father, a teacher, even before having a dialogue with him. "Neuro Habitat" and "Symphony For A Genocide" were the first industrial records I listened to. The most formative. There's everything into them. In the recent months I have read shameful things about MB. Disgusting and inhumane phrases about his work. By mouths totally unconnected with the brain. People from the scene whose pride goes hand in hand with their tremendous frustration of not having substantially completed nothing in their musical life. I find all this terribly horrible and disgusting. Returning to the upcoming collaboration, it consists of a split. A double CD entitled "Structural Zyklusters-Session". In the mastering work, moreover, helped a Sir like Siegmar Fricke. The tracks were selected by Maurizio and for me, from a compositional point of view, was an important goal. As the MB'S humanity and kindness are out of the common, he isn't the kind of man who not to make understand what he wants or, at least, what he expected from those who are in front of him. I spent more time than usual in the development of the tracks, I felt a bit the "weight" of the thing. They output from it sound-compositions which personally stunned me. Among my best creations, there is no doubt. Regarding the split, I read in the net a sentence of M.B. that says - "I will not say much about the collaboration with Le Cose Bianche. The songs we've made will speak for us" -. Pure Gospel. From a sound point of view I have tried to stay faithful to my style (I have got more than one?) miting it with the atmosphere created by the Maurizio's songs and with the thematic's concept. One thing must be said, however: the sound of M.B. is impossible to recreate. Not even if you put yourself working 24 hours a day. He has something that no one will ever have. From a human point of view Maurizio has a dowry, among the many others, that I do not have, but I'm training to have it: he always knows what to say and he knows how to say it in very few words. A mentor. Our collaboration, which in the course of these months has turned into a real human relationship, will have a sequel that will see me engaged in a production role.

Which are the elements that have the most influence on the timing of the realization of the individual tracks that you compose?

> They are essentially two: my inner earthquakes and the time. If these two components are me favorable, I can also record six songs in an hour. Otherwise they can spend six weeks without I put my hands on the synth. Unless I have specific deadlines, and in this case I approach in a more professional and less internalized way. But despite that, I always know what kind of song I'm going to create. If it is a tribute to some movies, if it will be a track on which I'll put a vocal line, or if it'll be a long and violent course of twenty minutes. Even here, as I already said, is often my mind to have dominance over the body.

Your musics express incisively an inner universe full of restlessness and sometimes hallucinated, as well as the emotional states you transmit are vivid and they play a fundamental role in the drafting of the sound. The images you associate to the acoustics they recall explicit sensations of violence, physical/psychological disfigurement, and as well a vision realistically cynical of the outside world. Inside of your mind, and then the soul of Le Cose Bianche, there will never be moments of serenity?

> L.C.B. is, for constitution, a container of shaded areas. Into it they flow almost exclusively the most intricated aspects of my existence. But it is also a place "playful" (for me it is) where I can slide a bit of healthy provocation and a pinch of that extreme taste that I love so much and that I'm going to look for in certain films or in some imaginary visions. L.C.B. is the good old and dear school "free theme". But free from of any gooders form. It does not reflect what I completely am. I breath the serenity elsewhere. It is true that when I record I'm almost always very serene. And if I aren't, I become so while I improvise.

The industrial/power-noise/power-electronics circuit that you represent is constantly expanding, but I think that too many of its national and international artists are transient phenomena or poorly able to communicate concrete messages. Are you agree with this observation?

> In part. You, rightly, are much more diplomatic than me. I don't have a lot of praises to donate to the most part of the scene near to me. For me it would be enough to hear something valid regardless of the message that is underneath: in the end, neither I communicate a lot, I always and only speak about me, at maximum regarding some sides of the human knowledge but always mediated by my direct experience. But it's the only thing I can do. Religion, Satan, Christ, and politics do not interest me at all. The fundamental point is that for the undersigned there are few valid realities. And also that I do not consider myself as a great either. Too many theaters of the absurd, easy exhibitionism, outdated and over-exploited iconographies, meaningless screaming, no-dynamic sounds, inexistent graphic projects, hymns to death and nihilism, indifferent, and often everything mentioned is experienced by a curious intellectual arrogance and by an embarrassing self-conviction combined with even more embarrassing protagonism manias. Of national parojects coeval that I really estimate, I'm lucky and honored to have them among in my strict knowledge. I worked with some of them, I'll do the same thing with others. The rest is sonic matter that I do not care. Some name scattered at random? TSIDMZ, Wertham, Urna, Uncodified, Molestia Auricularum, M.D.T. , A Happy Death, E-Aktion; obviously I'm quoting more or less contemporary and emerging realities. Otherwise, in the list I should include M.B. , Laxative Souls, Eraldo Bernocchi and others. I prefer not to dissect too much the foreign aspect, about the emergnig scene, I like a little or nothing of it, and regarding the consolidated names, they're are those that repeat forever. Returning to Italy, I respect very much Corpoparassita, SantAgostino, Deison, Splinter vs Stalin, but our paths have never encountered. Surely there are other names, but now I don't remember them.

Le Cose Bianche is a chrysalis containing an embryo destined to evolve in the future in some other sonic form: do you consider your project as the only and last identity to which entrust your musical introspection?

> Musically I will die with L.C.B. and when it will happen I'll be playing in the headphones the songs of Nick Cave and Morrissey. Nothing ridiculous-involuntary theaters of the last beach. I'm not interested in any kind of development, to the maximum about the music work for a feature film (I'd like), or for some side project. Nor even any synth duo-noise aggregation that I find unbearable. No collective. At the moment, the only future that interests me is my present. 2014 is distant from me least 25 years. The only future will be the fulfillment of the commitments made during this 2013 both by LCB with some productions that I'm near to start. There may still be some very interesting things.

Coming to the greetings, I want to thank "G" for his cordiality as well as for having shown even more clearly his project to the readers of Vox Empirea. As usual, you I ask you to give them a personal and significant thought...

> At first, Thanks to You. I'm not a charismatic leader and I don't want to create any proselytize. I can only say: try you to do the opposite of what I did until now, maybe things will get better. But you always have the decency to remain coherent. An individual without coherence is like a blank loaded gunk. It can make a lot of noise but it will never hurt no one live soul.




* (by Maxymox 2013)