and Marco Gariboldi
e-mail interview | Interview part II (2010)
Marco: I was impressed by your project "Tempest & L’Orchestre Des Mortes". Classical compositions from Baroque and traditional tunes with chasing melodies. It recalls me of Bach and Muzio Clementi’s operas, excellent music to play with the harpsichord. Have you ever played it with a real orchestra? What are your projects for 2010?
I have not yet had the use of a full orchestra. I have had the pleasure of working with many musicians that play various orchestral instruments through my years of study as well as composition. Unfortunately those events took place at a time in my life where I never thought of documenting the songs or sessions on any form of recording device other than staved paper, with a sharp pen and fond memories. For the past several years or so I have been writing compositions for a small chamber orchestra. I would only need less than a dozen musicians with their respective instruments to play the orchestral compositions. Traditional symphonic musicians are an entirely different species in my point of view as opposed to secular modern instrumentalist.
Speaking from the standpoint of a composer who has worked with both modern and classical artists, I have noticed a difference in the approach between the varied types of musicians. I personally view the classically trained and disciplined musician as the "Upper Eschelon" of all musical artist. However, this must be stated from a position of my own personal experience in these areas. I would also be quick to point out that in this preference I am speaking of attitude, devotion, discipline, morality, and the sanity these musicians possess; as apposed to the quick giving satirical ass kissing, and social gratitudes popularly offered among the snobbish who I like to term as "The False Sophisticates".
As a modern composer I feel I have gotten myself stuck in the middle of two passions. The neo-classical music and tradition is where my heart truly is in every way. To be able to support the use of a small chamber orchestra into becoming a viable asset I must have resources set in place primary to the involvement of the instrumentalist. As of now I am utilizing the "Tempest & the Diaspora" project as a foundation to build this future on. Eventually I desire to add "L’Orchestre Des Mortes" (The Orchestra Of The Dead) into Tempest & the Diaspora within a few years when I will be capable of grander, and more secure forms of production and showcase. In the meantime I will be releasing the first Tempest & the Diaspora album. Sometime soon I will be releasing a new and somewhat secretive symphonic opus, or opera before putting out the second and third industrial albums. There are however many neo-classical style electric guitar leads incorporated into the current album we are preparing to release.
I have always had a knack for working with virtuoso guitarist in my career. Once again I was hit by lightning and struck pure gold with Josha Cirbo (SINAC) joining the Tempest & the Diaspora campaign. We have been able to incorporate the guitar styles of Yngwie Malmsteen, Cacophony, and Racer X into the industrial music we have been making without distracting from it's validity. The guitars, as well as the explosive abilities of Buddy Fucking Christ on bass are a very nice segue into future works incorporating the full use of symphonic orchestrations and scoring techniques.
When the time comes I will prepare my scores and put word out in a few of the regional music conservatory's or universities to gather an eager and capable chamber orchestra.
Marco: In Tempest & L’Orchestre Des Mortes you have a classical music composition traditional approach, using instruments and sheet music. Which instruments and software do you use in the “Tempest & the Diaspora” project?
Tempest: The Tempest & the Diaspora project has a twisted approach on the first album Amanita Muscaria
. I started using a Macintosh computer a little over two years ago. All of the songs on the album were originally recorded on my samplers and keyboards. I always refused to use an actual computer to do sequencing and recording for many years. I took pride in creating both classical compositions and industrial rock solely on my keyboard composition work station.
Technology really caught up these past few years and it has now rendered post production with a computer as a necessity. In finishing this first album using the Mac, I mistakenly thought until just recently that using the computer to create a song was extremely limited. So I fell back into using my keyboards to write entire songs as I always have. Then I imported all of the finished tracks from the keyboards directly into the Mac for primary editing. However, now that Amanita Muscaria
has been completely recorded utilizing all the outboard gear, I am willing to really dig into all of the virtual instruments within my software and utilize them to their fullest capabilities on the following albums. At least I can always look back and say that Amanita Muscaria
was recorded as real & raw industrial music.
I do however still write all of my orchestral scores from my head onto staved paper. There is a dynamic difference between writing neo-classical compositions and writing industrial music though. I found that my skills as a composer applied to industrial rock are somewhat irrelevant. Use of these skills have taught me to accept having to be a minimalist when it comes to writing rock & roll. My skill at composing more often than not makes the rock songs far too busy, as well as making the mix very complicated.
Using sound effects however is a challenge to me. There are times I work just as hard at creating loops and using sound effects as I ever worked on writing a symphonic score. Keeping with the traditional mentality of the core of music in general has brought me to a point of using the programmed music as a cyber skeleton of the songs. We prefer to rely on our instruments and voices predominantly in all we are doing. Refusing to use the computer as a crutch, just an ornament.
NINa: Amanita Muscaria is the debut album you've been working on for the last three years. What's the hardest part about having the album mastered and finally sold?
Tempest: The logistics of putting this all together is way fucking more than I ever really thought it would be. It's not like just being a hired gun to record on some bands album, nor is it as simple as doing orchestral scoring. This project is like piecing together a massive puzzle. It also takes resources and planning, along with not having many enemies in the scene to worry about that you can't easily put in their place. Confidence and a strong will to push what you have created is the hardest part.
NINa: What's the hardest part of making an album?
Tempest: Keeping a stable line up. I played with so many people over the years and wanted to do projects with them. So much trivial shit always exploded that things would fall apart at the last minute. I was never able to actually finish anything with them. I am finally content with the current line-up of the band. Nobody clashes ego's or has any addictions or hang ups that are creating any friction. Why the fuck couldn't it have always been this way? I will never understand that.
NINa: You sing on the record but you are an awesome guitar player as well. How long have you been playing the guitar and who are other guitar players you find gifted?
Tempest: I have been playing the guitar since I was 12 years old, but I was a musician for many years before that. I was in Junior High School, and as fate would have it, I was in an English class that was beyond capacity. The Principle offered 3 kids in the class a chance to join a guitar class. I had just seen the movie “Crossroads” so I was dying to get into the class. That night, my Uncle found a beat up old acoustic guitar slimed up in a dumpster. We put new strings on it, and the next day I was learning how to play “Stairway to Heaven” and “Crazy Train”. As far as guitarist I find gifted, I would have to say that Yngwie Malmsteen, Paul Gilbert, Marty Friedman, Dan Spitz, Alex Skolnick, Kerry King, Andy LaRocque and Kirk Hammet were all huge influences.
NINa: I've heard you do not like to listen to anybody's music before you begin your own music recording process. Is that a reason you remain original while many bands follow their influences and to be sincere, become rip-offs?
Tempest: I have not listened to hardly any other music at all in the last few years. Only a few albums and songs by friends here and there. It kinda sucks because one of my favorite pass times was to get fucked up and blast some of my favorite albums on a brutal system. However, to be honest, I think the genre I enjoy has been going in the wrong direction for some time. I'm trying to change that.
Marco: In this incarnation you are backed by three young musicians “the Diaspora”, which undoubtedly will have given you a charge not indifferent in this project. Are the previews, that can be listened to on your Myspace, the fruit of your work in synergy?
Tempest: It has been a cooperative effort. I did all of the primary recording and programming on the album as I always have, when I have worked with other artist. It isn't until the final result of the song that I bring in the instrumentalist. I am certain to leave open parts in the songs for the band to perform on and add their own ideas. What we came up with during the studio sessions on this album was extremely exciting. Other than in my head, I never hear the end result until the final playback. Live playing on the other hand is something I look forward to.
Since the programmed part of the shows are just a skeleton, we will be able to play all instruments in real time as any secular group would perform that doesn't utilize machines like we do. That will be a nostalgic aspect of everything I love about music. The real synergy will become paramount during the shows.
NINa: Buddy, what are your expectations from being in a project the caliber of Tempest & the Diaspora?
With the incredible talents, twisted creative minds, full dedication and determination of everyone in this band, I believe that we can take T&D as far as we want. I'm expecting quite a bit... lots of shows and tours, releasing numerous albums, interviews and recognition, becoming the face of a new breed of music, anything and everything so that I can just play my bass and perform for the rest of my life.
NINa: What do you pay attention the most technically when it comes to the live shows?
Buddy: I am all about the live shows, it's what I live for and it's my release. I put more attention on my performance than my bass playing, so I like to keep everything I play relatively simple and lock in with the drummer, and of course I need a raunchy, dirty sound that everyone can hear, that way I can focus on rocking the fuck out and making sure everyone is having a helluva time.
Marco: Which Industrial artists inspired you, Moon?
I'm going to be brutally honest and say that I am inspired by a lot of different bands, and a lot of different genres, but I cannot name many industrial bands other than NIN and MINISTRY (of course). I consider myself to be more of a 'metal' based drummer. I love the double bass and heavy ass riffs that come along with most real metal bands. Bands like JUNGLE ROT and MORTICIAN have always inspired me and continue to do so today. HED(pe), COAL CHAMBER, BEASTIE BOYS, CHUCK BERRY, BILLY HOLIDAY and SUBLIME, as well as most classical songs have also had an effect on my music and that is just a small example. I just strive to keep an open mind, for there is so much to hear and play that it would be a shame to limit ourselves.
NINa: Do you believe a drummer should have any special skills to operate all four limbs of his body at the same time?
Moon: Ha, but no I don't believe that you need a certain something in order to play drums, or any instrument for that matter. It's sad to hear people say, "I have no rhythm, there's no way I'd be able to learn an instrument", because I believe it's just not true. I don't see anything special about any of the musicians I listen to, except for the fact that they practiced and kept practicing!!! I encourage every person who is even remotely considering to start playing an instrument to just do it. It will bring so much joy into your life...
NINa: Who's your favorite drummer?
Moon: Well... Joey Jordinson from Slipknot is probably the only name I can think of without cheating. Since he is one of the best, I shall go with him. Hey, as long as you keep it fast and funky I'll love it!!!
NINa: What is the dream drum kit you'd like to have?
Moon: I have no specific brand that I MUST have or anything, I'll wail on anything I have, but someday want at least six toms and a whole shitload of cymbals.
NINa: Sinac, do you have any favorite guitar maker?
SATAN! ... Just kidding. I like Ibanez and Gibson guitars. They have great action and produce the tones I like.
NINa: Is playing the guitar more about headbanging or being focused on technique? Have you found a way to combine the two?
Sinac: It's a mixture of both for me. I headbang for appearance, but I believe technique is more important. Looking good means nothing if you can't play your parts right. Generally, when I'm learning a song, I will practice it until I feel that I am technically proficient enough to be flashy. Then I can get wild.
NINa: What is the dream guitar you'd like to have?
Sinac: That's a loaded question (laughs). I want SEVERAL guitars for different things. If I had to choose one, I would go with a custom, body-through, multi-radius Ibanez with Bare Knuckle pickups (I need to get a feel for each pickup model before I can choose the right ones for this beast), stereo output (split between different pickups), a real Floyd Rose tremolo system and a wicked design of my choosing.
NINa: How did you meet Scott (Tempest) and what were your strengths when you decided to team up?
Sinac: I actually met Scott through a mutual friend. She told me that a friend of hers (Scott) needed a second guitar player for a tour and thought I should try out. When I met Scott for the first time, I was impressed by his tenacity, and the fact that he had a full album already written. We hit it off right from the start and I knew that this project would be a good fit for me, and vice versa.
NINa: Now, let's get back to Tempest again. What do you want to achieve with the new band?
I just want to play music... plain and simple. There is something inside of me that just won't rest, and cannot be broken. I live for music. I just want to put out as many works of musical art as I can before I die. I want to give people something to listen to. Something that shakes them to the core, and awakens something in them to get up and fight for what they believe in. I desire to do a fine job of it and make it last.
NINa: Personally I don't pay attention to the lyrics at all, only to the melodies, rhythm and dynamics. How important are the lyrics to you? Is there any message between the lines you'd like to reveal publicly?
Tempest: Music always comes first. The lyrics however do all tell a story. Many songs on the album have significant, traumatic, and sometimes even tragic realities behind them. All of those moments in time where the words came from flash through my head as we are performing live. It is like a near death experience... Where your entire life flashes before your eyes. Sometimes I am singing and playing guitar, and it is as if I am on auto-pilot. I find myself daydreaming about where I was and what I was doing when I wrote the words. The events leading up, and what happened after.
Sometimes after we finish a song, I wonder how the fuck I made it through while lost in the movie inside my mind. However, the album is a work of fiction. There is a storyline to the entire thing. It is entertainment based on rationalizing the insidious nature of primal human thought processes and acting them out to bring closure to the memories that haunt.
NINa: Your lyrics are based on rhymes. Is it easier for you to write them that way so they fit to the melodies and a song structure?
Yes. I always begin with simple rhymes, then after a few lines of elementary poetry are jotted on paper I begin to spread the structures out and fill in the lines between. After a secondary elementary phrase is completed I then self edit the work and expand it by using poetic stylings from my favorite poet... Federico Garcia Lorca.
NINa: What is your favorite song of the incoming album so far?
Tempest: Definitely "Io"! I wanted to write an avant garde punk rock classic. That song delivers me to a place inside my head where I always love to be. Plus, it is also in a Major Key, so it sets a slamming mood. The song (as well as several others) is also littered with some of my favorite nasty voice mails from assholes I crossed paths with. Revenge is a motherfucker! ;D
NINa: Let's call it a Bucket Experience. What's the story behind recording vocals for "Rain"?
Tempest: I was in the studio recording vocals on the song and made several attempts at recording the tracks using the effects processors on my Line 6. No matter what I tried, I could not get the sound to match the vision of sound in my imagination. I needed a sharp and quick reflective echo. I noticed that the big bucket I usually keep dog food in was empty. Cringing somewhat, I washed the bucket out with soap and water, then tossed my microphone inside and shoved my head in the bucket on top and pressed the record button and recorded all the verses that way. It gave a great effect on the album.
| Tempest & L’Orchestre Des Mortes on Myspace
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