Every once in a while, an artist comes along and consistently produces albums that immediately grab your attention from the very first note and captivates you until they fade off into the cold silence. For me, Winterblood is one of those artists and from the very first time I heard the album ‘Waldeinsamkeit I-III’, I knew I was listening to something special. After getting my hands on the back catalog and quickly downloading anything that comes out new, it’s apparent that Winterblood is an extraordinary addition to the winter synth/ambient community. I recently had the opportunity for a Q&A session to find out what drives such a momentous force behind the atmosphere. Enjoy!
1. First of all, thank you for taking the time to participate in this interview. Can you tell me how Winterblood came about?
Hello there! To talk about Winterblood, means to looking back at my childhood first of all. I remember a film called Antarctica, where the haunting melodies played by Vangelis left an indelebile sign on me; I was so attracted by that landscapes, dogs, and all that atmosphere. All so hostile and dramatic, but at the same time so comfortable. As the years passing by, searching for that power and feelings, I discovered the distorted guitar, and soon I was involved in metal music. In 1997 I started recording with some pc softwares, under the influence of very great act in Cold Meat Ind. and Burzum ambient style, and I find out that only the synth can bring that ‘not human’ character that I was looking for. Winterblood is something within me since the beginning and recognized through sounds and images.
2. You have a pretty lengthy discography! What are some of the challenges that you face while consistently writing such impressive material?
I put no limits in what I’m doing. Most of the albums are similar? May the other dimension brings me in the same direction! I’m just a kind of medium doing atmospheres, not ‘songs’. I’m still discovering my inner voices.
3. Sometimes I wonder if Winterblood is a dark ambient project or a dungeon synth project, or maybe a mix of both. What genre would you classify it as?
If I had to choose a term, it would be Polar ambient; ‘dungeon synth’ is more fantasy oriented, and my project is focused on spiritual affairs through coldness and blackness.
4. Music wise, many Winterblood albums have a trance-like quality to them, enabling the listener to drift off in a meditative state. Is it your intention to provide this type of introspective state?
All is about intuition. Every note, every drone you hear, is recorded following inner voices (I repeat myself), voices that make me dream, make me sleep, make me relax, and bring my imagination in a no-limit zone, where all is infinite and beautiful at the same time. In Winterblood, all comes from the darkness, and look how all is bright! Purification through listening, through making music. If it works with me, may it can works with others, and is real cool to have positive feedbacks. To quote my page site: ‘… the really ambitious goal is to put the listener – after a reassuring prelude – into a cold state of loss and confusion; this may causes an awakening…’. Intentional? Of course.
5. When you set out to record a Winterblood album, do you have a plan in place for a particular sound or style or do you improvise based on your feelings at the time?
I spend hours doing tests, sounds, and right fx. The visions leads all, as intuition as well. Music flows naturally cold, ripetitive, obsessive, but at the same time melodic, hypnotic… It’s not about technic, but magic and sensibility.
6. Do you play and record with physical equipment, VST’s or a mix of both?
In the past I usually worked with softwares and plug ins, with the time all is went in the analogue direction. With this equipment I can give originality to my works, something unique.
7. Do you draw inspiration from any particular bands or other genres of music? If so, what/who are they?
As said before, the Cold Meat ind. scene has a great impact on Winterblood. Act like Aghast, first Ordo Equilibrio, Mz412, Sephiroth, Raison d’Être… But also Eliane Radigue, Burzum ambient-era, Apoptose…
8. One of my favorite Winterblood albums is ‘Waldeinsamkeit I-III’. Is there a distinct theme for that album that makes it so special?
Waldeinsamkeit is an album the literally ‘break the borders’. Why? Still don’t know. All is strange behind this album, from the beginning to the end. What make it so special? The total alchemy between artwork and music. It is so nocturnal, mysterious, magic, really describes as well the title itself. Thanx goes again to Canto Críptico label for the first tape press and artwork, and Kunsthall prod. for the massive Lp release that is unbelievable.
9. You recently released ‘Hiraeth’ which was an impressive 3 hour plus long recording. What inspired you to write such a mammoth of an album?
The purpose is to inaugurate a series of releases focused on meditation, Hiraeth as first. I was looking for something very extreme, something that can makes you dream up, sleep, and floating without an end, something eternal. Of course length is fundamental in this. Hiraeth, as other Winterblood opus, is inspired by my obsession for the grey color, dark woods, old vintage illustrations, and the melancholy for something lost, that is nothing but the lost the original perfection.
10. Can you tell me a little more about your side project called Macchine Per Comunicazioni Spiritiche?
MPCS is just a container for bizarre experiments. Let’s see…
11. Are you involved with any other projects (that you care to discuss)?
Absolutely not. Winterblood is my only project.
12. I really appreciate you taking the time to answer these questions. Do you have any final words or thoughts for the Winterblood fans that will be reading this?
First of all thank you for let me open a window to my music, and thanx to all the supporters around the world! A lot is on the making…