Monosonik interview: ‘AI cannot replace the emotion of building a project’
Monosonik
The Italian music project Monosonik was founded several years ago by Corrado Altieri and Giorgio Ricci. The latter is certainly no stranger to the scene and is undoubtedly one of the leading figures in the Italian Electro underground. Ricci was involved with Templebeat and later launched several notable projects, including the more Industrial-oriented Templezone and, more recently, the fantastic Dark/Cold-Wave act They Die. It has been about fifteen years since Monosonik last released an album, but “The Stars Are Watching”—issued by Blackbeat Media Productions—is an absolute gem. The music presents a restrained form of Electro that recalls the atmosphere of The Klinik in their early days. Its strength lies not in BPMs, pounding basslines, or harsh vocals, but in its immersive atmosphere. There are no vocals here; instead, the magic unfolds through icy textures, occasionally heightened by Techno elements, though never in a club-friendly way. This album is a genuine experience for fans of Minimal and Dark-Electro. I had the pleasure of speaking with Giorgio Ricci about it in person. (Courtesy by Inferno Sound Diaries)
Q: Monosonik’s origins date back to before the 2010s, and since your second album, “Mechanical Fluxus” (2010), there hasn’t been much news until this year. How did the group come into being, and what led to the long hiatus before you reactivated the project?
Giorgio: Corrado Altieri and I have been friends for a very long time, and together we created the duo Monosonik, born after our Electro/Industrial experiences with Templebeat and TH 26.
In 2008, we decided to merge our sounds and began producing icy, cutting, sometimes intangible sounds. First, we released the album “42728 Hours” and then “Mechanical Fluxus”, the last one containing numerous remixes.
After the release of “Mechanical Fluxus”, we took a long break to work on various other projects (Uncodified, Templezone, They Die).
Q: The strength of your work seems to lie primarily in the atmosphere you create. Can you tell us more about the Monosonik sound and your approach to it?
Giorgio: We don’t just focus on BPM or dancefloor. We look for cerebral Post-Industrial rhythms, but also with cold, sidereal atmospheres. Our priority is a crystalline sound characterized by surgical arrangements and a minimal aesthetic, even in the visuals.
Q: Could you tell us a bit about your new album, “The Stars Are Watching”? How did it come about, and were there any direct or indirect triggers or influences that shaped the making of this record?
Giorgio: “The Stars Are Watching” was released many years after the previous album; it was characterized by a long production and composition process. It blends Ambient atmospheres with hypnotic and alienating rhythms. It has a very dark and layered sound that tries to represent the information overload we are subjected to and the disorientation we feel. As in the other albums, we are focused on apocalyptic urban scenarios.
Q: I imagine that during the years Monosonik was on hiatus, both of you changed and evolved as artists and human beings. What was it like working together again on a new album? What had changed, perhaps improved, and what new challenges did you face?
Giorgio: We took a long break before relaunching the Monosonik project. Corrado comes from a very radical musical background characterized by violent noise (Uncodified), but I have a darker, more melodic approach. We exchanged the sounds we’d collected and developed during our own long experiences. Our maturity comes from maintaining the enthusiasm to merge our differences.
The issue is quite complicated: the way we listen to, distribute, and produce music is constantly evolving, and too many musicians think they’re producers. Furthermore, we’ve partially adapted to the use of online platforms, even if we continue to produce records and CDs.
For us, the CD is the primary and fundamental object. It underscores the sacredness of music and leaves a tangible mark on what we communicate.
AI, however, cannot replace the emotion of building a project, where even mistakes or creative blocks are part of a constant process of self-improvement.
Q: Monosonik doesn’t immediately strike me as a live band, but rather as music suited for a Soundtrack. How do you see this yourself, and what are your interests and future plans regarding live performances or other projects?
Giorgio: The live aspect is unfortunately a problem. Some artistic expressions in Italy are reserved for a very limited audience. Our live shows are multimedia performances, and we rarely manage to find suitable spaces. However, we are continuing to work on producing visuals and a new album full of remixes and important collaborations.
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