shroud magazine

iv: maurizio landini


1) the klangstabil's sound ranges in a spectrum that goes from a very minimal electronica to very powerful power electronics attacks. what leads you to creating such an original "melting pot"?


ks: we don't approach this systematically. our music just rises. which kind of emotional expression is finally arranged this way, depends on how you feel in the moment of its creation. up to now we managed to make it hapen that there's an alternation between more "easy" and more "rough" releases and that's good this way.


2) in a live gig videotaped in your vhs you use a big instrument, very similar to an harp: is it a home-built instrument, or what?

ks: it's the inside of disassembled grand piano - the pianostrings - connected with simple guitar pick-ups.


3) megahertz has produced and is still producing many many tape releases. do you still believe in the power of this old phonographic support?

ks: it's a suitable medium for us.


4) nowadays there's a sort of cross-breeding among electronic + industrial music, where electronic music is trying to "evolve" via the utilization of industrial music patterns, while some areas of the thing that once was simply called industrial are slowly becoming more rythmic and linked to the old electro tradition...do you think of klangstabil as part of this kind of mutation?

ks: it's just, that we feel we don't belong to any group; what does not mean that we mark off. if we're filed under the traditional label "industrial" and we are also active in the area that "industrial" music has evolved up to now, then we have surely influenced this kind of music or maybe changed it. it's good if a term like "industrial" accepts new definitions and there's no need to look for new terms as soon as there are any new influences. to our opinion the label "ant-zen" has always stayed fresh and open for new things, what means a lot of work, but in the end - from a musical sight of things - it does pay.


5) a big part of the german electronic music is constantly drawed as a part of the gothic scene - we can see what's happening in the big festivals (wave-gothik treffen), for example. don't you feel this point of view your music is being seen from as a sort of putting the bands as klangtsabil in a "categories ghetto", especially as for the bands like you that are open to several kinds of sonic experimentations?

ks: we think that people who know us, know that we are always filed under somekind of categories. it's not very interesting for us to know in which kind of category we're put by people. the most important thing is, that we're not influenced by others; we don't need to be like others want us to be. we paint the world the way we like it - we make "klangstabil music".


6) gioco bambino has flowed out more or less completely from a game-boy. what's your relationship with the videogames dimension?

ks: we love video-games. if you play a gameboy-game for six weeks in a row and finally reach your goal, then you build up a certain connection to such devices.


7) how do you reconcile all your work with klangstabil with all the other several multimedia activities you're involved in (the website, videos, etc.)?

ks: design-wise we have learnt a lot from "klangstabil". all of our experience with "klangstabil" and our recordlabel "megahertz" is included in our multi-media company "function aspect". we finance our musical activities with our work.