Interview Equinoxe #23 winter 2004 <
Could you please say a few words about why you chose the
name Alio Die?
choose it for the sound of the word as well as for the meaning. Alio die is a
greeting to a better time in old latin language and It is like a propitiatory
Did your studies at university play an important role for the way you compose/create music?
not in a direct way. Yes I could have had some input with my studies in
electronic or art, but my approach to music was coming from different
inspiration ,that was more from dream in the nature and throw listening to music
,but for find a personal proper language, for me not to have a classical musical
training was helpfully and better, I think
It's a kind of tradition in our magazine that musicians
are asked how they would call/describe their music. Have you got any idea (when
I listen to some of your works I get the impression of some kind of 'ethnic'
is for it's nature not easy to bring easily into words.. dark, tribal ambient as
well as drone and meditative music, introspective, mystic /atmospheric... can be
used to describe my music and to speak about it, like a lot of other words that
can tell about that special quality of poetry that music can show. Electronic is
also related in the descriptions often with my music, also if I rarely use
sintesizers, but mostly acoustic sources and an electronic feeling can be found
in it for the treatments I use, with effects and delays and for the editing of
the sounds that characterized the final composition.
lot of your tracks have a soothing and calm atmosphere whereas 'The Way of Fire'
has a rather disturbing quality (it reminded me a bit of Lustmordís 'Heresy').
Can you say something about the sound sources because some of them sound rather
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 treatment that are added later, during the process of
organisation of sounds. I like, in the first step, recording with a DAT portable
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 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
think it's natural that visions and interpretations that music can give could be
very different for the different listener. Sometime to give an input with
special quotations in an album can help to introduce the listener to connect to
the music. Also the artwork can give a good passport to the worlds that are
evocated and I like to take care personally of it also throw special editions
and ritual packaging with seeds, leaves, etc.
Would you say that in some cases your music is just a
means to an end to achieve something (for/in the listener)?
process that music, throw a complex ensamble of vibrations, induce or support in
the listener is sometime surely an experience like that. This can be related to
the healing power of sounds and as well to some evocative quality that have
something to do with energies around at the time of the realisation of the
track. As the process of creation is a complex feedback of consciousness between
the body and mind in an amplified attention while the sounds going on, to make a
Tabula rasa_ is just to return to the source of an hidden spring, and
there accept the end as well as to be able to find inspirations for a new start.
sometimes get the impression that your work has to do with (inner) development/change
(e.g. when you think of your album 'Password for..' or some of the track titles
on the compilation 'The Hidden Spring' like 'An Instant in
Flight of Real Image' or a track like 'Brace di Transformazione' on 'Il
Tempo..'). Is that true?
could be, the flowing of time is the witness of our life perception ,it is the
filter for our mind and senses running, a sound expression that observe and
respect time finding silence can be like a mirror lighting inside, describing
the delicate changing of the experience that the soul have, from a space where
time have a totally different meaning. In this way my music is not describing
special inner changing but look to some passpartout that can introduce and give
stimulation going into this dimension. In this case music can have a function to
counterpoise the stress of our day life.
I like that the visual aspect have some quality of microcosmos , artisan/mandala
composition with an handmade feeling and with a classical touch in graphic.
When you work with other people (e.g. Ora, Robert
Vidna Obmana) is that a necessary inspiration, because often musicians making
ambient or drone music work on their own and might be isolated?
not a problem of isolation, I think collaborations are very important occasion
to learn and share visions and technique,and to me these happen usually after
mutual esteem when there is the interest and the occasion to create something
role do 'real' instruments (like flutes or accordion on ‘Il tempo magico di
Saturnia Pavonia’) play? Are they just an additional sound source?
role. On some tracks the primary source was done with acoustic improvisation,
and on some other to give a live touch to the loops and drones. On this cd the
original Alio die_s atmospheres are little more 'played' with real instruments
than as usually done with samples and loops, but I like that apart from this
change, the dream-poetry rest the same, perhaps with some more real quality in
it. On the new cds that are out right now: 'Sunja'_ (with Zeit)and 'Khen
introduce silence'_ I've investigate more about the possibility of this resource..
all sounds are improvisations with zither,khen (mouth-organ from Thailand),
accordion ,than editing these with more long loops and adding environmental
recordings done around the world. The result is a very relaxing music with a
life perfume to forget time,and fly away on a coloured tapestry.
How important are source sounds for
you? Do you think itís
necessary to inform the listener about the sounds that were used or does it only
make sense when you are still able to realize what the original sound was/is ?
choose of sounds in this creative process is for sure very important,but it's
not necessary to inform the listener about every sound is there, also if
sometime it's nice to know about that.
works are on the way to be released.The Cd 'the Sleep of Seeds'_ with Saffron
Wood is out now,too. I've also ready different new cds like Sol Niger that will
be out on Spkr, 'Aquaplanning'_ with Werner Durand ,and another CD with piano
and zither processed sounds. There is also a cd with Francesco Paladino with
collaboration with In Gowan Ring and Chako, 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 angel'_. I plan to do some more
concerts in the future, some with Opium(partner in Sola Traslatio project..),it
is a different space for this music but the live give some good input, too .
there anything you would like to add?
I_ll have a personal site at <http://www.aliodie.com/> in a couple of
weeks, here you'll find more info about the different release of the last twelve
years of activities, and other curiosities.