‘Click Interview’ with Templezone: ‘New Evocative Sounds With A Soundtrack Style’

Templezone - Interview
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Giorgio Ricci was involved in one of the most famous electronic/industrial Italian bands: Templebeat. It inspired him to find a new band name although Templezone is quite different in its global sound and approach revealing a more sophisticated electronic style, which will appeal for lovers of IDM and electro/industrial ambient music. The album has been released on FinalMuzik.

(by Inferno Sound Diaries)

Q: You’ve been involved in numerous bands over the past 20 years so what have been the main reasons and inspiration to set up Templezone?

Giorgio: Templezone is the name I chose to create my solo project. After many years working together with many musicians and bands, I wanted to build my personal space, trying to generate new evocative sounds with a soundtrack style.

Q: The band name somewhat evokes the most successful band you’ve been involved with; I refer to Templebeat. How do you look back to the period of Templebeat?

Giorgio: That’s right, the name is related to my past and is meant as a bridge with the present. I vividly remember the Templebeat-period as intense and very demanding, lots of concerts around Europe, about twenty recording between albums, singles, remixes and compilations. A little regret is that we were almost unknown in Italy, where we always lived.

Q: After Templebeat you also get involved in numerous projects like Monosonik, RAM and more recently First Black Pope. The influences and music styles were quite different, but what are your own experiences?

Giorgio: The key to comprehension of every single project is the use of electronic sounds and sounds that can be recognized and related to my style. You mentioned two works, Monosonik and Ran which are the total opposite of each other. Cold and icy for the first one, warm and evocative for the second one, but still connected by the same, almost meticulous research of every sound and common sound textures.

First Black Pope is a complete different situation, where I work mostly live. I put EBM a little aside, though I’m still listening to it and performing it, but being on stage with them is a very intense experience

Q: Back to TempleZone, I experience “Neosphera” as your most sophisticated work ever. It feels a bit like you wanted to experiment with new ideas and a different electronic approach. How comes and tell us a bit more about the writing process of this album?

Giorgio: “Neosphera” partly resumes the work produced by laverna.net, that published two albums of mine, available in free download on their website. The evolution can be heard in the more rarefied sound textures and in the attempt to leave a sense of suspension. I tried to eliminate the tension of the industrial sound, which inevitably comes along with me, leaving space to a kind of approach more visionary, atmospheric and cinematic.

Q: When listening to your music I feel a real passion for sound research and –creation. Tell us a bit more about this essential process of the album and how do you proceed working on your sounds?

Giorgio: I mainly use just a few machines; I quit following technology and updating softwares a few years now. I like to release a single synth note for many minutes and, eyes shut, I imagine far, open spaces and odd weather conditions. I let my emotional part take over and blend with a drone mood, modulating the sound and creating overlapping. Sometimes unexpected melodies develop. Eventually, with the softwares, I collect the material and I operate a really thorough ‘cosmetic surgery’.

Q: You’re into music business for numerous years now, but what’s your perception of the current scene and trends?

Giorgio: ‘Business’ is a term, which isn’t related to me, since I associate that word with ‘benefit’ of a few on other people’s work. The web dramatically changed the market and the distribution of music, and sharing is a free choice of the author. I think it’s a big thing to be able to arise without the filter of the powerful majors, and of the companies making money on authors’ royalties, just turning to the ‘Creative Commons’ or free protection services of the authors’ works instead. This way, new, fresh ideas come to light, far from the impositions of the media.

Courtesy by Inferno Sound Diaries

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