Italian sound artist and musician The Star Pillow (aka Paolo Monti) released two new full-lengths in 2019: Music From Sad Headbangers, out via Midira Records and Quattro Dialoghi Fuori Campo, out via Delete Recordings. We had a talk with the artist about the two releases, the collaboration with Giulio Aldinucci, experimentation in music and more. Check the answers after the full streaming below.
Let’s Start from “Quattro Dialoghi Fuori Campo”. You defined it as a cinematographic work but not a soundtrack. What about the concept and the creative process of this new work?
I was (and still i am) trying to change my usual creative process, combined with the need to explore other sonic solutions to express my feelings. Because, i admit, i’m a little bored to be often recognized as “ambient” or “drone” artist. Thanks god they are just words, even if more devoted people take them so seriously (and i’m rather interested in killing our own idols and our image). So, when the guys from Delete Recordings asked me a release, i imagine to work on this not as a soundtrack musician, but rather as a Director, composing by images and scenes.
You released a new album titled “Music From Sad Headbangers” via Midira Records. What about it?
I recorded “Music For Sad Headbangers” between 2017 and 2018. I wanted to write my own manifesto, an album that could contain all the influences explored during these 10 years (and more) of sonic adventures. For this reason it will be, for me, my most complete album. Also, i was looking for a serious title that at the same time profaned all the serious and sad music with related people, scenes and poses.
Is it true which these two albums will be the last releases for a long time?
Yes, i think it would be true. I already have two new finished album, one with an important artist. But the fact is that i want to be much more on the road playing in the real life and record an album only when i feel it. Also because, honestly, if every artist made an album only when they really had something to say, the quality of the music would increase.
You also recently released a full-lenght with Giulio Aldinucci. What about this collaboration? How it was born?
How essential is the experimentation in your way of conceiving art and what meaning do you give to this word?
Also Experimentation is just a word. And i really care about the words meanings, expecially when they split people. For me Experimentation is an on going research of exciting adventures in the music. When i’ll not have anything exciting and funny to discover in the music, i can always stay sit down, meditate, or getting bored.
I’m very interested to the connection between the places we live over the years, the territorial geography of our roots and the art. How do you feel these theme connected to your music, your way to think music? What are your favorite places?
This theme is very important for me too, as person, as musician. I feel a great connection with the place where i’m living and all the cultural and people influences of that place always are part of my music at the end, as part of my own experiences as person. I love travelling and i’m so proud when i have the opportunity to visit new countries in tour. Sometimes i fell in love with some cities or countries and, if they already are not in tour with me, i return there with my wife and sons, to understand if we could live there in the future. I really feel like home in Utrecht (NL), Berlin (DE), Lofoten (NO), Sardinia (IT), Monte Amiata (IT), Tampere (FI) …and Carrara of course, the town where we live. All of those places have also an important rule in my music.
You recently played at Moving Noises Festival. What do you like more of live shows compared to studio sessions? And what about the visual part?
I played at this incredible festival run by Midira Records, Moving Noises. The location in this modern Cathedral was amazing and the line-up too. I love playing in studio sessions as well as in live concert. I love to book and do my long tour in complete solitude and harmony. Is really therapeutic and funny for me. I just can’t wait to play in Russia, Asia and South America.
About the visual part, at the moment i have this new visual during my performance, shooted by Aldo Giannotti and Viktor Scheider, edited by Nicola Quiriconi. Is an impressive metaphor of the neverending research of roots and happyness.
Ritual question. Which records of this year did you like most?
I love several albums any time. I love the last album of Tristan da Cunha, Vipcancro “Uno”, Simon Balestrazzi “Redshift”, last “Dolpo”, Maurizio Abate “Standing Waters”, and many many more.