of wasted time
::: I started making
my musical/sound experience in 1995 using and old PC that could'nt
store wav files longer than about 30'' (at a very low sampling
rate), so I worked only with short loops and creating rythms putting
some sticky tapes on vinyls... but this is another story, and it's
about my early musical project, DER EINZIGE,
made in collaboration with Camillo.
After the bought of a new powerful PC
(for these times - 1995), I began experimenting with sound editors
like Wave Studio, cutting and pasting in a 'visual way' to build
rythms and overlaying sounds through mixing/paste special features.
The process were very very slow, so I had to make tracks with a
low low sampling rate and bitrate.
Rarely I sampled from CDs some loop or instrument, but more often
I create through microphone the things I was serching for.
The result of this slow and stressing work is the Nervous
System Overload album, my first and maybe the most strange.
Very obsessive and harsh, each song is an attempt to transform in
sound a concept or a sensation that I had in my head at that time;
that's why the song are titled 'The Wait
Anxiety' or 'An Attempt of Kindness'.
I was more intersted in expressing my desease through sounds than
making fine rythms or melodies - in effect I was'nt able to play
at all: I never studied music and I don't know almost anything about
notes or tones. Fortunately now things are changed, but this is
another story too.
So, during the University years (Design faculty of Politecnico di
Milano), I knew Marco
Volpi , at that time a progressive-rock/black metal listener,
that was very intersted in making some hard electronic music, and
so he started to use the DOS sequecer that suddenly (after a short
training by him) became my first expressive way to make the music
of Normality Edge, beside the sound
editing softwares I used yet. At the begin I just put some vocal
on his EBM songs for the Human
Against Hope project, but I felt that the rythms I could make
were similar to the industrial and gothic songs I used to listen
at these times. The first song I made for Normality
Edge was Monochrome (now
in Dark Rythms), and I used only drum
loops... it was very difficult for me understand the possibilities
of that program... Yes, I'm a quite stupid, I know.
The computer bagan my first expressive way to push out my deseases
and to try to concretise my musical
ideas, but rarely I liked what I realised, due to inexperience and
youth. Sometimes I heard some new group and I thought "Whoa!
This is the kind of music I wanna do! Let's switch on the computer
You can hear the results in The I. F. Box.
More often I felt sad or very nervous, anxious, or Very
Instable, and I would like to transform that way of feeling
in a song. That's why the most are obsessive and gloomy... But I
was not always blue, nor I didn't play just when I was angsty!
As you could see in the credits session of each album, many people
(girls, often) inspired me in making those stuffs, in particular
that was the first listener that appreciated my work. After the
mom, of course!!! I meet Red Rose in 1997 and we 'wrote' some song
After the university years I started to change my musical tastes
and frequentations, and my life slowly changed... maybe I got less
anxious, or... I just know that my musical inspiration changed too,
so were born songs like 'Il Confine del
Tempo' or 'A Very Silly Song',
contained in Unpleasant
I stopped to make music under the name of Normality Edge
and Human Against Hope, goin on with the Norm and
beginning the Sparkle in Grey project.
I realised that all the material recorded on my PC for Normality
Edge was good enough to be re-ordered and re-mixed a little
bit, so I passed a lot of weeks selecting the less worst songs and
getting them shorter and less dirty. The
idea was to select the tracks for genre and start to think about
a double or more CD... maybe a box of concept album CD's. The 'concept'
of each one was the kind of music it could be more similar, that's
why the titles are 'Anxiogen Dances'
(the most disco I made...) or Industrial
Noises (the harder one...).
I melted togheter the songs to build a fluctuating mix for each
CD and designed the graphic employing some photographs and drawings
of these times.
I found the courage to propose to Andrea Marutti (aka Amon/Never
Known) to publish in CD-R on AFE
Records my 5 CD box opera omnia, and he
said 'yes'. It was one of the best moments of my life. So, go listen
the tracks, if you want, and... buy the Box!
Each track has been made by me (Hue) and my computer without
using any midi sequencer nor external peripherals as keyboards or
drum machines, but just (sometimes) a small low-fi microphone.