Drugged redshifts, alien frequencies and the implementation of technology capable of conquering the ocular cosmos would be an appropriate precursor for a dissociative narrative and our host this week presents the scenario in a confronting medium. The modern classic world of Angelo Badalamenti, Klaus Schulze and Ennio Morricone set a precedent; a world’s indispensable depth comprised of a persistent battle between love and hate. The collateral fragments of this conflict have assisted the release of varied works across imprints such as Prologue, M_REC Ltd. and Electric Deluxe, the latter of which he now calls home.
To be honest we’re still somewhat perplexed as to how he’s acquired the time to complete the projects that have arisen from his headspace of late, most of which endorsed the dense evolving landscapes that have inspired our vista on submergence. The parameters within which his work resides are still only a tenant of his expansive disposition – we’re only visitors.
Our broadcast host is Giorgio Gigli.
Kn: Ideas and venturing into rolling cognitive terrain play a big part in your productions and performances. What fascinated you when you were younger that inspired this deeper thinking?
GG: I was largely inspired by emotional and intimate states. I can say that my main source of inspiration is Love. Love as an undefined and metaphysical entity, a mysterious but delightful experience who every human experienced during life. So I was early inspired by ambient music, modern classical and dramatic soundtracks (like Angelo Badalamenti Klaus Schulze, John Carpenter, Brian Eno, Ennio Morricone, Goblin and Tangerine Dream), all the music I can feel particularly emotional. After them, I did my first approach to Techno listening artists like Plastikman and Speedy J and labels like Plus8 and Probe, I had early understood and analyzed the strong link between Ambient and Techno.
Kn: Your sounds vary from ominous deep landscapes to intimidating assaults. How do you think of these two very different sides to you regarding the way you express yourself?
GG: Yes. I have these two different sides in my productions. They are meant, at first, as the desolating solitude of human condition and, in the second phase, the assault of love against anger. It may be intimidating, of course, since it’s a desperate but powerful scream of Love in a world of hatred.
Kn: The idea of ‘tomorrow’ isn’t an easy one to approach for some when it comes to incorporating it in music. How do you implement that doctrine in your own work? (Feel free to go off on your own tangent on what is a vast subject)
GG: This question brings me memories of my track “Il futuro è solo il ricordo di uno stupendo passato” (“The Future is just the memory of a beautiful past”). It’s hard to translate music in ‘tomorrow’ since it depends on what idea of tomorrow we have. It’s a subjective and personal interpretation. For many of us, the idea of tomorrow is something new and never experienced during the past. For others, the future is a partial alteration of the past that joins actual dynamics and thoughts. For me it’s a bit more articulated since I think that future is just a projection of our aspirations and desires inside a better context. When I think to the future, I think to hope.
Kn: We expect 2012 to be even bigger than the year we just closed doors on. We’ve seen you successfully release quality records this year not just by yourself, but also the collaborative products have been cause for attention too. Have you thought much about what you need to achieve with respect to your personal aspirations? Anything else you feel the world would enjoy reflecting on?
GG: 2011 has been an important year for me and for techno music in general. A lot of good stuff was released. It’s a great time for techno and I’m fully concentrated to make 2012 bigger than 2011. There’re so many great techno clubs in Europe and around the globe so I’m happy and glad of them. It’s not easy for a producer to understand what you need to achieve personal aspirations. I think it’s a matter of passion and love in the full respect of other artists. It’s not a comparison matter, I think there’s enough place for everyone, everywhere. Everyone is great for what he does, if he does them with love, sacrifice, passion and hard work.
Giorgio Gigli’s podcast has been realized using vinyl with 2 Technics SL-1200 MKII, 1 Technics SL-DZ 1200 and Ortofon Concorde Pro cartridges, 2 disc stabilizers and an Allen & Heath Xone series mixer.