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Interview with: Massimo Usai
Conducted by: Ines
Synthwave or retrowave is on the rise for the last couple of years, whether you like it or not. 80s influenced music with accompanying iconography is on the peak of its revival and new and new artists are swimming on the surface of it daily. Massimo Usai, a Sardinian musician, is also not immune to the nostalgic charisma of the past and from his passion towards music and artistic movement of the 80s - which was a big part of his life growing up - his newest project was born. With his eerie melodies with a strong soundtrack and videogames music vibes and emotional vocal style, which will remind you even of the great Brian Molko from time to time, Massimo joined the legion of great musicians such as Carpenter Brut, Perturbator, Nightcrwaler, Dance Of Dead (to name just a few) and broke the ice with his 2015 EP Done With You, under the name Confrontational. But before there was Confrontational, there was also Dahlia Indaco. And Recs Of The Flesh. You can imagine Massimo and I had a lot to talk about: how he shifted from darkwave through noise rock and finally landed in the realms of synthwave.
Ines: Hello Massimo and thank you for taking the time to do this interview! How have you been lately?
Massimo: Hey Ines, thanks a lot - it's really a pleasure for me. I'm good, pretty busy with a bunch of different things, mainly focusing on the studio work these days, finishing tracks for the new Confrontational album. Quite excited!
Ines: Given your incredibly rich and diverse musical history, I don't even know where to start…. So, let's do it the classic way and start from the beginning and move on slowly. With you, first there was Dahlia Indaco, a darkwave band you co-founded with Elisabetta Patrito in 1999 which disbanded in 2009, but for the beginning, I'm interested in what was going on before 1999 – what was your musical background before this first band of yours was formed?
Massimo: I had no formal musical training prior to starting on guitar. I took some piano lessons when I was 6 years old and the whole thing just freaked me out - it seemed so demanding and not much fun. Growing up, I took an interest in drums, but never actually got to play them - I just thought it'd be something cool to do. I liked cinema a lot and I fell in love with soundtracks - it was all about the Ghostbusters theme back then! At about age 9 I got my first album - Michael Jackson's Dangerous- and that really changed a lot of stuff for me. I started to pay attention to lyrics, and so I started to translate the Michael Jackson stuff from the trippy slang he used into Italian. That album taught me so many things about rhythm, pacing, the flow of a tracklist and American English language of course! So at around age 11 I asked my parents to get me a keyboard for Christmas. I was never able to play it properly but I could recreate some melodies I liked on it. When I was 14 years old I saw Dawn Of The Dead by G. A. Romero for the first time: I was just blown away and I thought "Ok, this is it dude, you have got to do a movie - a zombie movie". In about a year or so I came up with a script that I pitched to some classmates in hopes to find people into it, so we could shoot it together. The only one guy into it was my friend Paolo Vargiu, who was already super proficient on bass, guitar, piano and programming. This was around 1997/98. He had a software sequencer on his PC so we got to his place, I'd whistle or mumble a melody and he'd pick it up from there or he would propose something. I drew a storyboard for him and I'd show him what I had in mind, ask for a slower or faster BPM count, then I'd watch him come up with a song from the hints I gave him. It was very cool to witness that process, and I still think to this day that the script was actually fine. The movie never got done of course, but we had the soundtrack ready: the plan was to sell it on cassette tapes and use the money to finance the project. But doing a movie was really too much of a mess for a looney teen into zombies, and I discovered I could tell stories through songs... so that's when I bought a sequencer - "Music" for the Playstation - and started messing with it. After using it to its limits I thought I needed a more physical approach - doing music with a joypad was not exactly what I had in mind - and I was already listening to more guitar driven music, so I decided to pick up the guitar. After putting some songs together I played them for Elisabetta and asked her to join me. That's how it all started!
Ines: What a fun story! Seems we have a lot in common, I do too love Michael Jackson and zombie movies. But back to you, of course. How does one come from being inspired by Michael Jackson’s explosive and flamboyant melodies and soundtrack music to creating darkwave music, which is – stylistically and musically - expressive in quite a different manner, as the ambiance and use of instruments take a whole other direction?
Massimo: You have such a good taste! As I mentioned, I've always been into movies, and that exposed me to several different types of music. From the Blues Brothers soundtrack to the Screamsoundtrack, from the Alien score to all of the movies by John Carpenter with his incredible use of synthesizers, I gradually got into more orchestrated and guitar-driven music. For some reason I've always liked dark moments in a track. There's certainly no shortage of dark moments in Michael Jackson's music... if you think about a song like ‘’Who Is It?’’ - it's almost like a short movie itself: it depicts a situation with just hinting to what's happening in the life of a person, and it's done in such a great way. It all comes together clearly when you see the video for that song. As for ambiance and instruments used, Michael worked exclusively with sound engineer Bruce Swedien during his solo career and Bruce is a masterful creator of depth and sound textures. I could literally feel the environment Michael Jackson would sing about in his lyrics while listening to his songs. I think that's a big component of his success and also vastly under rated. When it comes to instrumentation, he's worked with some of the best musicians out there. One of the persons that made me pick up guitar is Jennifer Batten, who has been his guitar player for all of his tours since the album Bad. I saw her on the worldwide broadcast of the Bucharest gig in 1992 - I was ten years old at the time - and there she goes onstage, dressed in a palm shaped neon dress, blazing through the ‘’Beat It’’ guitar solo like a killer. I was simply blown away! And of course, there can't be enough words to stress the importance of Thriller - both the album and the video clip (by John Landis, who also did the Blues Brothers and An American Werewolf in London...). Ground breaking - to say the very least. The obscure, mysterious component has always been prominent in his persona, and although maybe not the one thing he got a lot of credit for, it is one of the elements that made him so famous. He was well aware of this. So he's always been, to this day, somebody who I'd look up to when creating music. He understood the importance of the craft; he was after the perfect song, the big hit. It set him apart. I'd love to make people dance & move around with my music, regardless of whatever labelling it gets... that's a thing I've kept in mind since starting out as Confrontational, that's why I feel it's all connected to what I'm doing now.
Ines: I understand where you're coming from, as it's not so uncommon to me to sense the influences of Michael Jackson in goth-associated acts, whether it was his darkly theatrical approach or the beats, but they rarely see it as a compliment. As we are already talking about influences, what other artists would you say inspired you directly for what you've done with Dahlia Indaco in particular?
Massimo: Both Elisabetta and I had an interest in horror movies and various dark, industrial and metal bands. She was really into Depeche Mode, Enigma, Rammstein. I was more into Sadus, Prong, The Sisters Of Mercy. We were both into Cocteau Twins, Sonic Youth, Killing Joke and the Silent Hill soundtracks from Akira Yamaoka. Pretty wide array of crazy stuff to put together...
Ines: What was the reason to call it quits with Dahlia Indaco in 2009?
Massimo: We never really quit, we just stopped playing together, I guess we both lost interest. We worked two full years on our full length album, Chronicles Of Nowhere, which was a very stressful thing personally. That's all I can say for myself. But it was fun while it lasted and we did some cool stuff, like having Darren Travis from Sadus sing two songs on the album. That is still unbelievable to me!
Ines: I understand. While in Dahlia Indaco you took another interested turn in your style and formed a noise rock band Recs Of The Flesh. So you probably know what I'm going to ask now – how come you went for the noise rock?
Massimo: I think noise rock is the closest I could come to describing the sound of Recs, which was a mix of several different styles ... It's been called noise, dark rock, death rock, and even cosmic rock by Greag Burkart. When you try and sum up several different influences under the "rock" umbrella you never know what the general response will be. I had a formulaic approach to the creation of those songs back then, which was to incorporate elements from all over the place and assign a specifically "equalized" role to each of the instruments. Sonic Youth was definitely one of the biggest influences in terms of the depth of field they could achieve, and the way they'd let melodies filter through apparently just a bunch of messed up noises. It's like a recreation of a language. And I love that approach. Seeing them live in 2002 in my hometown was nothing short of a revelation. I remember meeting up with Kim Gordon, Steve Shelley and Thurston Moore in 2007... they signed my copy of Hold That Tiger, which is a live bootleg recorded in Chicago in 1987. They were actually playing as a four piece for the first time in years. I handed Thurston a cassette of our EP at the Pitchfork fest in Chicago. He was very cool about it. That was absolutely surreal. I feel they're also vastly underrated- they're absolute pioneers and never got enough credit for what they've achieved.
Ines: With Recs of the flesh you’ve released three full length album, a demo and an EP so far and even though Confrontational is your, let’s say main project lately: is there still going something on with Recs now? Are you on “stand by” or still creating for this particular band?
Massimo: Recs is really gone for good. I have something like 10 unreleased tracks from that band, which never got recorded properly. Maybe I'll put it out one day, but it was definitely time to move on. I am focusing on Confrontational full time now, and it feels great!
Confrontational links: Official website, Facebook