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,
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.