Please tell us about the origins of Alio Die. Why did you
decided to start this project? What the creative images were come into being
within Alio Die idea?
I've started with Alio Die as consequence of my first experiments with sounds in
the late '80, my first creative images was about travel with mind in the nature,
in remote places far in time and space, as well as find a sound poetry to
traslate the feeling and the idea of sacred and mystere, that I couldn't divide
from that of nature.
about your first sound experiments, which ones from them were most important for
you? I mean, were there some compositions that defined your further evolution as
musician and also influenced the italian scene? The landmarks of your early
the first recordings I've found important the step with 'Under an Holy Ritual'
as I was able to organize the sounds with a better quality and an accurate
focus.For sure also my really first recordings with 'Sit Tibi Terra Levis' and
'Introspective' had their beauty,also if little more rough in sounds. The source of inspiration
that coming out in my first compositions had influenced my music, at that
time,just in the way to give me the possibility to find the occasion to goes
more deeper in those visions.
us about the meaning of "Alio Die" pseudonym. Does it reflects the
principle of unreality of real events?
die is a greeting to a better time in old latin language and It is like a
it chosen due to the fantastic or mystic atmosphere which presents in almost
every track, while the music follows the special style of narrative movement?
Where is the connection between the ideological meaning of the name and the
conception behind the albums?
to give an input with special quotations in an album can help to introduce the
listener to connect to the music. I usually choose the titles when the album is
already done or sometimes the name appear during the process… but I think the
mystic quality is always under the names, not in a
you use to work on the particular album? Is it mostly planned before the
recording session or is it more like the improvisation, spontaneous flight of
thoughts and emotions?
work is not planned before,apart from some technical choose. Spontaneous
improvisations ,are combine with intuitions and emotions in different ways, the
process is never esactly the same. In the last cds and collaborations we have
started from an accurate
improvisation ,choosing particular acoustic instruments, about their sonorous
characteristics. We have used the khen (mouth organ from Laos) with a
zither and an accordion (play mostly one note at once), some tubes...
looking for the armony and the amazement that come out while playing. Then after
this first part of the work, it follow the listening and the selection and
elaboration of the recorded material, in
the studio, using the sampler for create more layers, to combine with the direct
recordings. It's like to increase
the photographed moment...
the music you like to listen to? Are there some musicicans whose works you
especially admire, and are they always similar to your own music or is there the
similarity only on the spiritual level?
really listen to a lot of music, and I like to listen music that is close to my
sound as well as different styles. I like traditional music throw different
area of this planet, like indian music, mali,north europe,tuva, etc. I listen a
lot of electronic music as well, experimental, minimal music... as I also take
care of distribution, I've always easily the occasion to expand my researches.
Alio Die albums (as solo as also collaborations) are full of the environmental
sounds (birds singing, cicadas, campfire, whistles, rustles, leaves rustle...)
but also with a lot of acoustic instruments (rattles, self-constructed devices
made of seeds, sea shells, leafs, various percussion). It seems that the natural
component of the music is very important for you. How you can explain this
distinctive feature - is it peculiar vision of the world in the light of mundane
and everpresent things? What can you say about the general construction
principle of your albums?
sources are something like the ingredients that are used in a composition to
find a particular taste sometime simple and direct and in some other more
complicate and layered. I think is very important the choose of these
ingredients as well as the treatments that are added later, during the process
of organisation of sounds. I like, in the first step, recording with a portable
DAT rec., environmental sounds, animals in nature or inspired improvisations
played with acoustic instruments and objects. Every sound have his quality that
reflect his vibration in poetry, evocative symbolism, colours and forms, and it
is in the right quantity, that every sound with the proper cooking can be useful
at the some point. A sound with scary quality can have an awake and excite
function on some level in a just contrapposition with a soft one.
Please tell us something about Hic Sunt Leones and
Sempiterna Mutatio labels. What is the meaning of its titles? What the
conception is behind these labels, what are the conditions of evaluation and
selection for other musicians who
want to release their music? Can you send us the full catalogue of the releases
(including the sold-out items and all the information) of both labels?
Sunt Leones is my private label, I 've found in 1991 for produce my music and
distribute them around the world, the translation of the Hic Sunt Leones name is
'Here there are the Lions', a writing that was wrote on ancient maps for indicate the
limit of unknown sea places, where it was supposed there was the monsters, as
the boats didn't returned from there. HSL wanted to goes throw these limits, and
in the world of sounds mark out paths of knowledge
with his musical proposals. For
this reason the HSL catalogue is little various in styles, but I think there is
always a connection between the different productions . The Sempiterna Mutatio
side label, was created in the way to produce music with an electronic quality
more clear. In the last years due to the fact that my musical project took me
more attention and interest, I've limited a lot the release of other artists,
do you think about various chemical substances, narcotic plants and other
hallucinatory matter? I mean in general and, in particular, the album 'Password For The Entheogenic Experience':
What may happen while you
are working on music or while you listening to it on drugs?
I am asking about this because I've read in the liner notes your
recommendation to listen it with "Sacred Plants" (?) and mushrooms.
the traditions of mostly cultures around the word, expecially when the humanity
was more in connection with nature, elements and animistic energies,
the relation between sacred plants (like Soma, and different plants of the
Atzec pantheon) and men had an important roll, it was like a key that in
connection with some special rites opened mind to the spiritual world. Now that
mostly cultures have lost they roots with earth, these keys are still there, but
in a lot of occasions are used more for escape from reality, that for find the
soul of reality. The approach to the experience is very important, and can make
the difference. Entheogenic plants can give to the mind, in the right ritual
settings, similar effects that meditation, yoga practice, or sounds experience.
It's more difficult for our
culture, to integrate the experience in our day life. And also aspectations,fisical
and psycological conditions, and settings are very important and are
individually different. We all know the connection between drugs and music from
the seventies, and we can look how this was an element that have changed the
languages in sounds and in the compositions. I don't take care of chemical stuff
and I think it can be very dangerous, as there is mostly no control about sanity
consequences. On other side in a respect way with ourself, I think that, for
someone, at some step, entheogenic plants can help to find a center or amplified
sensibility and perceptions.
outstanding collaborations with Robert Rich, Vidna Obmana, Amelia Cuni and some
others got the highest assessments of independent press, and it's also my
favourites. How can you explain this success and what you think about all those
appraisals and reviews, or it doesn't matter for you at all?
and Robert Rich worked on 'Fissures' in California, I had good ispiration working
with him as well as for his sensibility, as for his qualities of musician and
technician, too. 'Fissures' is the album that have sold more copies arriving to
more than six thousand ,also for the fact the
label at that time had a good distribution around the world. We had a very good
time together, I had occasion to see two Sleep concert (from about midnight to
8.00 am!) and one real concert he did in Los Angeles and San Francisco at that
time. With Vidna Obmana I was also in contact from many years, I like his music
from the beginning of his research, and we had occasion to meet different times.The
album was out on the italian label Musica Maxima Magnetica, like the
collaboration with Nick Parkin.
you like to listen your own music from time to time? Did you ever want to
improve the album after it was already published?
it's nice, expecially when I listen to some cd I did several years before, it's
like an intimate part of my life, a special atmosphere of mind in that period,
returning back in time, discovering just the same ispiration on one side, and a
different men and moment on the other.
Your first albums
(Sit Tibi Terra Levis/Introspective,
Under an Holy Ritual) consists of pretty short tracks, in contrast to the later
ones, but they are organically secluded and have no sense of missing
continuation. How can you feel that the album is finished and there is no need
to correct anything.
use to listen a lot to the music before I decide it is finish. Throw repeat
listenings I can correct the mixing and choose to add elements,or do different
editing and so on, and also changing the lenght.
is your opinion on the popular, commercial music? There is no doubting that
limited editions cannot redeem the poor quality and the fool content of music.
However, some labels like to release lots of limited edition albums, justifying
themselves with small amount of people interested in those releases. But this is
the policy of labels. And what is the audience of Alio Die music, how many
people like to listen your music?
don't like commercial music and I don't take care of politicy of the labels, I
did not advertising to my cds, and I think the better success it is relate first
to the passion of people for the music, like with this interview. It's very good
to arrive to the persons that are really interested, and also maintain a own
indipendency about artistical process. I think that Alio Die's listeners should
be different thousands, It's difficult to say with precision!
you like the idea of live performance? I think there are certain difficulties in
playing your music live on the stage because it requires high listening
sure, not every club or space should work at best. I had very good experience
plaing live in different places in Italy, like castles or old villages, like in
Topolo', near Slovenia ,where I've played in 2002 present
'Il tempo magico di Saturnia Pavonia', and 2003
with two concerts one with Opium,the other with Amelia Cuni and Werner
Durand. like you say, find an hight listening attention help a lot, apart of the
beauty of the place that is always appreciate. I plan to do some more
Is there in your music the core, the main idea over all
Every cd or track of music, is an ensamble of vibrations,that can be related to
some special evocative quality, that have something to do with inspiration, that
play with the energies around at the time of the realisation. The process of
creation is a complex feedback of consciousness between the body and mind in an
amplified attention condition,while the sounds are developping. I think that my
way to find the core is close to become like transparent, a sort of a 'medium' ,
in the way to describe with music some invisible side of reality, in the case
this is tuned, the core become more than obvious in the sounds.
is the source of inspiration for your work? What gives you the food for thought?
reality and ideals, love and pain, life experience, nature, consciousness and
people points to the special meditation feature in your music. Listening to it
just once, it's not possible to notice all the touches which become visible
later, while listening more and more. It's like the playing with sounds, then
with the sounds which appear to be echoes of the same sounds and so on. I think
your music is like a multi-dimensional enigma, and the listener should solve
these riddles. Did you composed the music destined for meditation intentionally
or it has another implications?
have done a very good paint about this quality of my sound compositions.
Certainly it is my desire find a special meditative feeling while I work with
sounds, and playing with multidimensional layers is kind of language that help
to forget time,relax and enter in a dimension with more possibilities.
tell us about the history of your another projects: Five Thousand Spirits and
Sola Translatio. If I'm not wrong, they are all collaborations with only italian
artists like Matteo Zini and Raffaele Serra. Can we say that these projects are
born to withdraw you from the traditional Alio Die sound? What is your aim with
each of your side project?
They were both depart from old friendships, of Raffaele Serra I knew his firsts
LPs and his electronic -collages & meditations; when later in Milan we knew
each other, listening to some of his big archive recording ,we have
decided to combine the efforts ..yes we had occasion to expand both our
possibilities in 5000 spirits project! Matteo Zini was also friend of mine from
when he was child, by the way he also played music before me at that time...but
when he started with electronic experimental music I was very enthusiastic about
his first experiments as its were tuned with my ispiration in a very clear way,
so we started with Sola Traslatio project.. it have gived us great satisfactions,
finding a very good answer.
is the studiowork for you? Do you record all material in studio or like the idea
to go outside and collect sounds and audioimpressions somewhere?
Recordings outside can be the first inspiration,or just they are used later to
complete the track.
Do you like to listen another music, far from Alio Die, in
All the time, when I don't play music.
again about your collaboration, there are very different people - well known or
not. Is there a special meaning behind the idea of collaboration for you?
the idea happen from mutual appreciation, from reciprocal interest in the music,
other times it come naturally working with friends that perhaps have never
release so much music before, but there is a strong connection in ispiration for
decide to start.
is your opinion about pure synthesized sound (lifeless as they say)?
like electronic music, but it become really interesting when a musician can give
to the sound materia a soul, really a personality, and apart from the fact that
we are speaking about instruments that are machines, this is a common problem,
in every art not a problem for synthesized sounds only.
you define your work as pioneering work? Or it portrays the succession of ideas
taken from the other musicians (artists)? My opinion is that your albums always
had the innovative ideas and uncommon sound.
you, my idea of new is relate to be more close to the center, or most tuned as
possible with the feeling of every project. Works of other artists can give for
sure some inspiration (and I like more to find inspiration from different kinds
of music,now) , but only when are digested and integrate with other ingredients.
I like an old feeling in the music, combined with a new language in the
tell us about your plans for the near and far future. Are there other
collaborative works planned?
works are on the way to be released, like 'Sol Niger', contain also some
radio-noise, 'Aquaplanning' with Werner Durand, and another CD with piano and
zither processed sounds. There is also a cd with Francesco Paladino with the
collaboration with In Gowan Ring and Chako (Jack or Jive from Japan), that is
mostly finished, the cds will be out in combination with a DVD of the sessions
we had in 2003, realized by Francesco Paladino 'Cutting wings of a sleepy
there some new musicians you want to join to your personal project or simply
work on music together??
collaborations come naturally to find the right moment of space and interest,
but I also would like now to concentrate on some solo recordings, after so many
collaborations, and other started..
is more important to you: the quality of sound or the special frame of mind
being tracked through all the albums subsequentially?
Now with new recording technologies the quality is not so difficult to obtain anymore. I like to build a kind of armony between the little noises and sounds, for open the perception , to disclose unespected dimensions that are coming, it is from tuning sensibility that I put in relation risonances between notes, in different layers…When it works this mean for me quality of sounds,and all special frames can flow like in a very special film.