it 15 Questions to Netherworld

Alessandro Tedeschi likes to work in creative episodes. The man hiding behind the Netherworld moniker and running the Glacial Movements label burst onto the sound in 2004 and 2005, releasing five full-lengths in two years thanks to the generous support of Italian icon "Oophoi", Canadian quality label Gears of Sand and his own, unfettered inspiration. Then, a silence of two years ensued - a period Tedeschi used to set up his own imprint and work on an even clearer vision of what he wanted to achieve: Netherworld has always been about isolation, icey landscapes and a micture between radical sound experiments and straight harmonic patterns. Tedeschi did not want to move away from these elements, but he did realize that his music could set free an even bigger potential if he stripped it down to the bone. A well-received compilation on Glacial Movements heralded his return and two new albums presented his new style in full glory. "Morketid" is a dream of William Basinski on the southpole and "Kall: The Abyss where Dreams fall" a forlorne symphony for echo, delay and plate tectonics. Tedeschi has found his own voice in a music which is as emotional as it is atmospheric, minimal and spaceous at the same time. Various sampler contributions have also been announced, making 2007 another busy time in his career. Nothing unusual, though, for Netherworld - just yet another creative episode, which is set to continue well into next year.

Hi! How are you? Where are you?   
Hi Tobias! I’m fine, thanks! I’m from Rome


What’s on your schedule right now?
I just released my new full legh CD “Morketid” on my own record label GLACIAL MOVEMENTS” in a limited edition of 500 copies.”Morketid” has a glacial ambient touch to it which fits well with the basic outset of my label.Then, another work of my mine is out on Canadian record label Mondes Elliptiques (sublabel of Angle Rec.) wich is managed by Martin (a friend of mine).The title of this CD is “Kall: The Abyss Where Dreams Fall” and it’s a limited edition of 441 copies. Then, I contributed to the compilation of FEAR DROP issue 13 with Rapoon, Zoviet France, Richard Chartier, Janek Shaeffer and more! Then, there is another musical contribution, which appears on the NEXTERA record label on a double CD recorded on a live set in Archiaro (Italy) by Oophoi. The title of this work is “Arpe di Sabbia”.


What or who was your biggest influence as an artist? Do you see yourself as part of a certain tradition or as part of a movement?
I love isolationist ambient soundsapes and  my favourite artists are Thomas Koner, Lull, Oophoi, Steve Roach, Rapoon, Stars of The Lid etc…but I think that I don’t feel their influence when I play and make my music. I don’t want my soundscapes to bear any similarity to other music… I prefer having my “personal” touch! So, yes, I see myself as part of the glacial/dark ambient movement….


What’s your view on the music scene at present? Is there a crisis?
I don’t think that there is a specific “crisis” of the ambient/experimental music scene. I’m an artist, and at the same time I have a record label (Glacial Movements) and in my experience I can say that there is interest from all over ther world.There are a lot of specilized music magazines covering this musical genrein depth,and there are a lot of international radio stations too! The most important thing is to have a purpose, spreading new ideas, music and thoughts…..


What does the term „new“ mean to you in connection with music?
For me, the term  “new” means to have an own and original “vision” about composing music.Having the “sixth sense” or “ the third eye” is something of great importance to me!


How do you see the relationship between sound and composition?    
Sound is a small part of composition. I think that each sounds goes in the same direction…the final direction is the composition itself. But behind each single sound, sibilance or noise, there is the artist… if there isn’t a specific goal, there can be no relationship between sound and composition.


How strictly do you separate improvising and composing?
I don’t separate them! In this kind of music and with my approach in particular, the final composition is totally improvised… there is something that guides my improvisation but it’s difficult to put into words……


What constitutes a good live performance in your opinion? What’s your approach to performing on stage?
In my opinion a good performance is achieved by a combination of sounds + visuals. When I do a performance, I try to surround the listeners with my soundscapes and i prefer having the light turned off. I like to play in a dark environment because in this way, my music has a stronger impact on people.And, of course, I need silence!


A lot of people feel that some of the radical experiments of modern compositions can no longer be qualified as “music”. Would you draw a border – and if so, where?
It’s very difficult to draw a border between  “music” and experimental compositions.
When people listen to something “different”, like ambient/experimental music, they usually say that it’s not music! For me, there is a difference.Classical “music” or better Pop, Rock etc.., has a fixed shape and structure. Instead, in the “experimental” genre, it is esasier to feel the thoughts, visions or anguishes of the artist… there is always a structure and shape behind an experimental composition, but for a “new” listener, it’s more difficult to find it.


Are “serious” and “popular” really two different types of music or just empty words without a meaning?
For me “popolar” music is easy to listen to and I don’t like easy things (and music). I think that there is a qualitative distinction between the serious and the popular. Everybody can listen to popular music because its musical message is simple…clear and easy to understeand. Soemthing which doesn’t happen with more complex music.

Do you feel an artist has a certain duty towards anyone but himself? Or to put it differently: Should art have a political/social or any other aspect apart from a personal sensation?
I think that art is an expression of an artist’s soul and I don’t think that there is a political aspect.


True or false: People need to be educated about  music, before they can really appreciate it.
False!!


Imagine a situation in which there’d be no such thing as copyright and everybody were free to use musical material as a basis for their own compositions – would that be an improvement to the current situation?
Absolutely NO! If an artist uses music from another artist, it means that the artist lacks inspiration or doesn’t have anything of his own to show…


You are given the position of artistic director of a festival. What would be on your program?  
I would be doing the festival inside a wild forest or in a quit environment!!


Many artists dream of a “magnum opus”. Do you have a vision of what yours would sound like?
My best and biggest album in my head should be composed with few sounds and with the most glacial and isolationist approach.I think that my last work “MORKETID” is very near to this concept! But I think that for me to release my best work, I need to go to the Arctic area for inspiration…


Discography:
Kall: The Abyss where Dreams fall (Mondes Elliptiques) 2007
Morketid (Glacial Movements) 2007
Hallucinations (Taalem) 2007
Six Impending Clouds (Gears of Sand) 2005
Otherworldly Abyss (Umbra Records) 2005
Firmament in Obscurity (Umbra Records) 2005
Eternal Frost (Umbra Records) 2004
Hermetic Thoughts (Umbra Records) 2004

Homepage:
Netherworld at Glacial Movements Records
Netherworld and Glacial Movements Records at MySpace

By Tobias Fischer, published 2007-08-13

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