We introduced different times Italian drummer and composer Andrea Belfi which is one of the symbols and main character of contemporary avantgarde scene. Ore and Alveare are the latest solo releases. In 2018 he collaborated with Lori Goldston and Aidan Baker for the project The Passion of Joan Of Arc (A score inspired by Carl Theodor Dreyer’s legendary 1928 Silent Film).
A few months ago we saw his live show at TIME ZONES Festival in Bari. Very impressed by his performance, we wanted to know more about his music and live shows. Check our interview after the full streaming of his album Ore.
Let’s start from your latest work “Ore”. What about the creative process? How it was born?
I created almost every of this record track by editing drum recordings I’ve made in 2016 at the Saal3 studio in the Berlin’s Funkhaus, a splendid sounding room part the old Eastern Germany Radio studio building. Nils Frahm had just started setting up his studio there.
Some of those tracks were totally improvised and some of them were already part of the live set-list I had been playing for roughly two years before. Those tracks were quite rough. ‘Ore’ in english means
You worked with Aidan Baker and Lori Goldston to “The Passion of Joan of Arc”. What about this collaboration?
Robert from the Berlin record Store “Bis Auf Messer” had this idea of organizing a tour with Lori and her project playing “The Passion of Joan of Arc”. Aidan and him conceived this idea of booking a tour as a trio, playing along that movie together with Lori. We embarked on a EU tour in 2015, playing 9 shows together. It’s been a really nice experience. Lori and Aidan have such a peculiar sound, very personal and magic. Plus the combination of the trio’s music with the Dreyer’s film was really strong in my opinion.
Are you working to something new for 2019? What can you say about it?
I’m working on a new EP called Strata, coming out on April 29 on Float. It constist in 5 brand new tracks and a techno-dub remix of one of them. I started composing this record by experimenting with Gnawa polymetric rhythms, and then using those elements to create new compositions with my drums and electronics live setup.
What attracts you the most about experimentation connected to your instrument? What is your way to give new shape to the sound and what is your idea of experimentation in art?
I developed my drums and electronics set up the last 15 years. It’s a rather simple setup, but the programming and rouring system is very personal and quite complex. It’s been very important in all these years the act of finding a personal relationship with our my instruments, as it affected my way of composing as well. That’s what the title of my third solo release “Knots” was about, the attempt to create art using the knots created by musical and technical elements together.
You live in Berlin. What about the relationship with the city and the role of it in your way to think and make music?
Berlin is an incredible source of ideas. I love that. It’s very important for me to be around here and see shows, meet people and exchange ideas and opinions. Berlin gave me many opportunities to grow as a person and musician. The city not particularly beauty, it’s in fact it’s really ugly at time, but it’s inspiring.
I Had the chance to see you live in Bari (Time Zones). You are touring right now. How do you buld your live shows compared to studio sessions?
I’m constlantly playing shows, and at the moment I’m setting up a spring tour presenting my forthcoming EP.
With this new EP I’ve been recording live sessions, extremely reducing the amount of post production. I wanted to reduce the level of discrepancy between a live performance and a recording session, where, for example, my solo record “Natura Morta”, released in 2014 by Miasmah records, is a product of a 100% post production work.
You recently played with Mouse on Mars. What about this experience?
Fantastic, I love them and their music. It’s somehow organized chaos, where musician have a structure where the musicians involved feel really free and get wild. I’ve seen them playing in 1999 in Milan, and being on stage with them was very emotional for me.
What are the best release you appreciated this year?
“Matanzas” from Don The Tiger, released by Crammed Disc