von pretronik@etronik.com im April 2002:
How did you start making techno?
"I was originally a drummer and when I got a sampler and equipment I was looking for some kind of musical direction but I didn't know exactly what. At the time, at the start of the nineties, house music was very popular in Italy. It was the period of piano house and most of the releases were vocal tracks, which I wasn't really that interested in. However, there were a few deep, underground producers like Joe T. Vanelli who were making brilliant, tribal house music. This was the sound I got into and one of my first productions was released by MAW."
So how did you develop from house to techno?
"I wasn't happy to make the same music again and again, I always had to search out new music. At the time although I knew what I liked, but I didn't even know it was called techno. Apart from big labels like R&S, it was also impossible to buy any techno records in Naples and I had to travel to London to look for music."
Was there a strong club scene in Italy at the time?
"It was more in Rome than in Naples. The ACV label was releasing music by Robert Armani and Dave Clarke and they were responsible for developing a great club scene there. There was a period where acts like UR were coming to play for them, but then Neo nazis started turning up at the techno clubs and all of a sudden the scene in Rome came to an end."
What was your next move?
"Well there were no outlets for techno in Italy at the time and I wasn't interested in making house or trance just for the sake of releasing music, so I set up two labels, Design in 1996 and 1000 in 1998. I was amazed by the reaction these records were getting: the distributors sold out each 1000 release on the day it arrived Ñ they were limited to one thousand copies - and all of a sudden loads of new doors were opened for me. I started DJing abroad at that time and it was a very special time for me."
You also left Italy at that time ...
"That's right, I moved to Frankfurt in 1998 and I set up two more labels, Question and Zenit with Corrado Izzo. The Design label is currently on hold and the 1000 label will never be used again, although I released a compilation album of highlights from that label last year. I moved to London at the start of 2000, because it's the centre of the music world, everything is here.
You released an album, 'Open System' on Zenit last year; what else have you got planned for both of these new labels?
"That's right, the album was a collection of a number of different styles; the reason it's so varied is because I wanted to do something different. I really hope that the people who like my techno material will be able to understand what I'm trying to express on this album. These new labels aren't set up to cater just for techno, we're going to put out a number of different styles as long as it sounds good and in time Question and Zenit will be home to great music from Adam Beyer, Stanny Fransen, Gaetek and Rino Cerrone as well as new producers like Danilo Vigorito from Naples. Watch out for him!"
Do you think that 'Open System' was more influenced by Detroit techno than your club oriented EPs?
"It has an electronic sound, but I'm pushing in a European direction and I don't really listen to that much Detroit music any more. I used to be a big fan but to be honest I think, with a few exceptions, it's a city that's stuck in the past. There are a number of techno producers who are going off in a jazz-funk direction, but I don't think they know what's going on in the outside world anymore. It's interesting you mention my club EPs because the album's structure
comes from my experience as a DJ: I like to build all the time. I'm a techno DJ, but I always try and keep it funky, something that's not always easy for a techno crowd to accept."
Why, have you been criticised for releasing less purist material?
"Yes, it seems like more recently clubbers are less willing to go with the DJ and let him bring in different directions. Our job has become harder. At the same time, you have to ask the question, are you an artist with true integrity or have you become something the audience wants you to become? In my mind, an artist is supposed to educate his audience, but it seems nowadays producers are just playing to the audience. Even though it's something you come across in the UK, it's a typically Italian mentality and it explains why you see so little new material coming from Italy. If you're trying to please others how can you evolve?"
Good point, do you think that this might lose you some fans?
"If people appreciate it, it's a plus, but to be honest selling records isn't my main concern. What really matters is making music and constantly developing; these are the things that keep me alive."
AUKTION
