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Donato Dozzy is getting harder to sum up. Residency at Labyrinth Festival, two highly acclaimed LPs in as many years, a catalogue of revered podcasts and an audio installation at the Venice Biennale but he hits the nail on the head: “I’m an obsessed compulsive music lover”. More broadly, his passion for discovery seems to be the driving force permeating and linking his pursuits he says music is the consequence and the story, which brings balance to his life. Donato was happy to speak with Pulse Radio’s Tristan Alaba ahead of his Australian tour about the installation, inspiration and experimentation at 360 degrees.
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Pulse Radio: How do you like to introduce yourself these days? Well I am an obsessed compulsive music lover (laughs)
That sums it up. Yeah!
Great, very simple and tight summary. I saw you had Audio Installation with Rabih (Beaini, aka Morphosis) at the Venice Biennale. Can you tell me a bit about that? That was an interesting project to get lost into, because it was the first time that I really received an offer that was, let’s say related to an installation.. Something I could create taking my own time approaching it in a different way, than I do usually. The chance was to get lost into it together with Rabih and so we spent time just thinking about it, studying the architect Carlo Scarpa, studying things that I personally didn’t know so well before. It was also an occasion to get into different cultural aspects of this country. It was a kind of risk and responsibility, so I took the job very seriously.
That was a nice occasion for my family, my relatives, and yeah, kind of being naked in front of them (laughs). The idea we had was to amplify what was already treasured inside of this museum store that was made during the 50s, and it was the main shop for the Olivetti Company, so a lot of typewriters that now are more than collectable items.. they are really, really beautiful pieces of art. Plus there was all the structure of the shop itself, that we had to deal with, made of many hidden angles, and a space that has been brilliantly used on different levels. In terms of sound, this shop gave us the chance to use and abuse all of these angles and things, in order to reflect the sound inside as best as possible. We just recorded the sounds that were already in the shop that were just, let’s say... slightly audible, and worked on that. I’m talking about the fountain, which is inside just at the entrance. It’s a sculpture, and the sound that is produced by this is very sweet and a kind of droney type. Just looping it, and playing it on the basement, on the let’s say ground floor, the store had a kind of nice effect, because different speakers were reproducing the sound of the water, which at the same time was processed through synthesizers. The one speaker at the end was kind of, showing off the synthetic sound of water, and all of this was mixed, so the perspective of the sound itself was changing according to your position inside of the store. Plus we have been recording the, let’s say, heating system, which was producing some, let’s say, fixed notes.
Through some analogue filters we could amplify certain frequencies of this, and obtain a sort of polyphonic pad, which was really nice, but no synthesizers were used at all to produce this sort of harmony. Together with the water, this was kind of filling the atmosphere in the ground floor. Plus on the next floor which is directly connected to the ground floor, you could still hear from above the sound from downstairs, but we concentrated the sound on the second level on the typewriters machine. We recorded the sound of many of them trying to transform it into a sort of tribal rhythm,perhaps. All of this was processed through analogue synthesizers, so the same percussive sound was transformed into also a synthetic sound, so in total we had like 8 speakers working around between the 2 floors, and each one was interacting with the next one. Yeah, it was quite a nice thing to do. I hope it was quite simple to understand!
That came across very well! It was open for 6 months, right? Yes. Actually it was supposed to be 6 months, but then they decided to keep it a month over, a month more. I don’t know if it was for technical reasons, or just because they liked it. I hope the second option!
That sounds excellent. Do you think that that experience will change your perspective on composing music, and producing music? Yes! I mean, it’s like it was already happening... this happened actually because I was already in a process like that. I was kind of, unconsciously waiting for let’s say, a chance, like that. Because also as the age changes, the way of producing music changes accordingly. Let’s say, this is a way also that makes me able to do music, and to produce things without being forced to go in a club and stay all night awake.
Exactly Which is fine, but not always fine. Also my life, my daily life is not made only by techno music. I listen to many different things, and as more I get old, as more I feel the need to experiment at 360 degrees and yeah, the installation option is like something I can see getting old with.
Do you have any other ideas or dreams, for similar sort of experiments? Yes. It’s on the process. But since it’s not confirmed yet I won’t say more. You know Italians, we are very superstitious, so.. (laughs).
Well we are excited to grow old with you, and we’ll all leave the clubs with you, if that’s the way you want to go. (laughs) Sounds good to me!
How is it working with Rabih? What is the dynamic, and the recording process between you two? That was an quite interesting process for the reasons I told you about, about taste that can change, and techniques can change and many other aspects of life.. He arrived in my own path, like in a moment where probably it was pretty much needed, and of course this couldn’t have been different. The first thing we share is like a deep understanding of each other and a very close friendship, that sort of family feel that you cannot just have with anyone.Of course his let’s say chaotic, under control approach of music, influenced me and kind of opened that door I was waiting for. I can say that now it’s one of these next stages of life, where the head is still the same, but there are plenty of ideas to search, and investigate about more. I would say it’s quite an interesting period of life that is about to come, and I’m glad that Rabih is part of it, because we just started, and as a natural consequence of what we’re doing, we have started performing together in several clubs, and we’re getting deeper in the process. Each of the shows was made without a precise plan, and as more we get further, as more we let the instinctual feel, let’s say dominate... Especially I would mention the last show we played together, it was in Rome, and this is something that makes me personally very happy.. It was probably the peak of all the shows we had together, where it seems we are really finding a way to work together, and make things happen, and I can say that according to the magic that I can feel around after the gig is done… Sometimes it takes a whole life to have a gig done, and sometimes like 6 hours just can go fast as the wind (laughs).
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That’s great to hear. Have you finished recording your EP together? I would say yes and no.. because we recorded stuff together, and it had already some influence on what we’re doing on our separate careers (laughs). One of the recordings we did together was in his album, same as some percussion sessions we did for fun at home. I ended up using them on a remix I did for Lucy, so we have some effective collaborations already, but nothing that is, let’s say focused on a common plan, which is something that at this point I guess it’s going to happen soon. It’s just a question of time, I’m waiting for him to be back in Italy. Since the relationship we have I don’t guess there is anything to push at this point. We have just to wait for the right mood, and right wine to drink together and start making music.
Sure. Speaking of wine, I’ve got a glass of wine here because it’s 9 o’clock. Sounds really good to me! I remember having wine and great food really.
So what are your memories of Australia? Well, the strongest is the stars, I think I never been watching the stars that way. So many, I can’t imagine so many stars above the sky. Australia is a great place where to see the stars.
That was at the festival Strawberry Fields? Yeah I was with the Minilogue guys and they told me, “Donato please look above” and I was like, “What the fuck. This is crazy.” (laughs). Yeah, that was like the first thing, then another very, very good let’s say aspect of it was Matt (Costain, of Strange Signals in Sydney) himself, which makes me feel very, very glad, so I could feel immediately like I’m welcome in this big, big country. Another funny thing is that I didn’t manage to see any single kangaroo, which is not possible! (laughs) And of course I was excited for being there, because I could only be thinking about the space in there, and how the concept of space in Australia is already breathtaking. Of course I was interested to see the social aspect of it, and how the people is mixed, how Italians are behaving in there (laughs) I was quite... let’s say it was fun to see how much people in there is addicted to coffee... And above all, people. I really met nice people.
That’s great. So I’m looking forward to be back!
And you’re playing at Rainbow Serpent Festival this time, have you heard much about the festival? I heard stories from the Minilogue guys. They had been the first ones talking to me about that when I met them in 2007, and I was at Labyrinth, my first Labyrinth and they were like, “Donato you should really go to the Rainbow Serpent one day.” I was like, “Why not, let’s see, I don’t know.” I heard only good things about it. I heard the people are very into the music in there, and it’s really well organized. The people behind is pretty serious, which is all I need to have a good time.
Do you find when you travel and you’re touring, different receptions to your music in different continents, or is it quite a global feeling to your music? People is people. It’s like I guess it’s all about the feel, the way you feel comfortable. I can of course notice slight difference in reactions, but the way to treat is always the same everywhere you go I guess. You have just to hope, that the people you deal with are peaceful people, and they are therefore opening their heart. If they do so, you can totally feel comfortable to give it back. That’s what makes a great gig I guess, everywhere you go.
I think particularly your style of DJ'ing takes a lot of trust. Yeah! I mean it’s a lot of stress on a personal side, because you know you’re
going to do something that expresses yourself 100%, but you cannot pretend that everyone wants to get lost into the music. This is something that makes me pretty stressed, because I’m not, ah... I don’t pretend absolute attention. On the other hand, when I find someone.. and I feel like most of the crowd is ready, that’s all I’m asking for. In the other occasions maybe you’re forced to find compromises in what you do, otherwise you would lose them, and experience tells me that it’s part of the job to just try any way to make
people happy. But as more you go through your mind trip and as more the people let you do what you want to do, then it’s like ecstasy without ecstasy you know (laughs)... I would say my hope is to find people who are open to music. My own thinking about, let’s say compromise, is because I think this describes the state of emotions of people when they have to perform. I’m not the only one. It’s just as more you can be yourself, as more you can have a great gig I guess.
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I noted a quote on your bio which said “In 20 years of activity as a DJ I still can’t realize the real social utility of what I’m doing, but I have seen the therapeutic function.” It’s difficult to find a common, let’s say a link point between the job and the personal passion... As more as you keep it as a personal passion, as more you’re going to be transparent and clean in front of an audience.
I guess that has the effect of the therapeutic function, if you’re in that relationship with the crowd, and vice versa. Exactly. If they ask me the reason why I do music, it’s because it makes me feel good, and it brings balance to all the things that happen in my life. It’s a consequence... and it’s my story. So this is why, it’s difficult to always try to be naked in front of the people. Because on one hand it’s very nice, it’s what all artists aim for. On the other hand it can be also a violent process, sometimes.
So you had this experience with the installation as a new sort of stimulus and learning experience, which influenced your music. Do you often find stimulus from say literature, or cinema, or perhaps sort of conceptually, or an education that you give yourself to influence or inspire your music, or is the music just a product of yourself I don’t use other arts to get inspired, if it happens it’s always by accident. It’s more, let’s say, people, human people that inspire me, even if they don’t know of course. It’s more the human being that gives me stimulation, and of course a movie is always a projection. But of course some movies also have been very important in my life, but if I must say that some movie inspired any of my music or stuff, it’s not like a direct link... In case, maybe I can discover it later. (laughs)
That’s nice. I think that one of the most important and pure inspirations would be people... So you’ll be playing again at Labyrinth this year? Yeah, sure.
I’m not sure if there’s much left to ask you about Labyrinth, it must be in every interview. Then my question is for you; are you coming? (laughs)
Yeah, actually I’m going to apply for an internship in Tokyo, and I’d like to learn Japanese and spend six months in Japan, and obviously Labyrinth would be a perfect event to go in the middle of that. Yes. Also for preparing for setting you for your task.
Actually two of my friends will be the support DJ’s at the Sydney show you’re playing (Theta State, at Subsonic x Strange Signals presents Donato Dozzy at the Civic Underground, January 25th). They’ve been at Labyrinth the last two years, they’re very excited
to play alongside you. I’m glad!
They were the ones that introduced me, and encouraged me to come to Labyrinth, and introduced me to mnml ssgs (now defunct music blog). I recommend you to keep on going, and yeah, I’m really looking forward to hear what music has to tell… on the person (laughs)
What music have you discovered this year that’s excited you? Most of all I’ve been studying, and trying to get back music from early 70s from Italy. I felt it was time to go diving, and see what the people that came before me here had to do. There is not so much written, or so much you can do here, who was doing experimental music. It was not even recognized in terms of cosmic, or Krautrock or whatever. Here, the music that was considered more leftfieldwas the progressive rock, where in between there were also musicians that were not strictly related to this movement and this is exactly my interest I’ve been focusing on for the past year. So I totally and literally fell in love with things that for me are now classics, of Claudio Rocchi... Suoni di Frontiera is probably the album that I’ve been listening to the most. I was maybe 3 or 4 years old when he made it. Yeah, that was the main thing.
How have you been finding this music. Online? It was probably online. It just happened. It’s like, I see the music lover as someone who at least in my case, I’m always on the research of things that make me happy, and give me a reason to listen to them back again and again. For the reasons of therapy we said before. (laughs) And this is how somewhat I came across some of these early works from Franco Battiato and Claudio Rocchi. But then I found out that they were good friends, and exactly the moment I discovered the music of Claudio, he passed away. That makes me think about life and how things go sometimes. Somewhat, in the moment I discover a record, from the message I receive from it doesn’t matter if it’s new, or if it’s made 30 years before. It’s all about the message and the feeling I get out of it. Of course I keep on buying new stuff and I would mention especially, finally, the release from Rashad Becker, which is someone who made a name of himself, because he is a genius at mastering. Not so many people knew how good he was with production. Rashad Becker is one of these that somehow makes me very happy this year, because just, you know, made the weird shit I wanted to listen to finally. He is one of these that has musical approach that goes much and way further, the genres of music. Every sound can be music, and
I can hear from Stockhausen to… to whatever, to what he does. It’s like just a musical approach that has no boundaries. So it’s kind of open set that makes also the music from the 70s so special. It was an open concept of music and I can see him being a real Krautrock or cosmic artist. I love him, I can get it! (laughs).
Have you worked with him? I know him personally. I had several of my works, singles and albums, mastered by him. Especially in the period I was living in Berlin I used to attend the sessions personally, so the connection it’s still in there, of course when some of my works are going to go through his hands and ears I’m very happy, because I know it’s going to be good.
Hmm, everyone does. I wanted to ask you about your mnml ssgs fnl mix [listen here]. I thought that was really impressive, I think a lot of people did. Are you exploring similar approaches to making mixtapes of lesser known music, and would you perhaps do that with the
music that you’re looking into now? It all makes sense actually, at least to me, because I think there is always periods, at least in my case, where cyclically I need to go back to the roots, and to understand what is will make the people move, the basics of the basics. Many of these drum patterns are, let’s say, what should be transposed to techno, at least to me. And if you go to the roots and you know that this is stuff that will not make the people move from just the last 10 years, it’s stuff that makes the people move since the beginning of all the times (laughs), and at this point I don’t see things as techno or whatever. It’s music, it’s rhythm, it’s psychedelic most of all, because everyone like his own thing, and I chose that psychedelic stuff is what is going to make my happiness in my life. If you make techno out of it, you can call something that you can define as VoodooTechno or whatever, then well yes, then you just have to listen to the music of Ti Roro, not even so well recorded. But back in the times in Haiti in the 50’s, he was like delivering real, real 808 and 909 patterns, using just his hands, and before him there were plenty of good people who did it, and just couldn’t record it. Of course it’s beautiful to follow the market, it’s beautiful to get to know many new artists, but what each one has to remember is that, we don’t have to forget what is that that makes the people move. That’s it (laughs)
With that mix I found it sort of relates to the way you look at yourself as a researcher, and then you present this mix as almost like research, something that you’ve been researching and discovering and presenting to people as sort of like an essay in a way. I mean a lot of the mixes that you record live, could not be like that, but I think there is still a demand, or a desire to hear these really interesting perspectives. Would you continue to release these sorts of mixes? I guess the important thing is that I feel inspired to do that. If I have something to say, I would find a way. Chris (of mnml ssgs) you know, he is a very good friend of mine, one of the best friends actually, he is one of those who can really understand what I want to say. Same as was when I did another mix at the beginning of this year, he just has put it out through his very small blog called Interstice. I don’t see why I couldn’t do another one in future, and as I told you
what is important is that I have something to say. If I have something to say, I would find a way. (laughs) Now it’s a while I don’t record any mix, or just because I mean the last one was like I think 7 months ago, when it was Roma Podcast. That also is something quite unique, same as the fundamentals of mnml ssgs, because there is a precise intention behind. Also that was the first time I had been working like, in a concrete way after so many years that I was working most of all with the mnml ssgs. I remember doing one of the very early podcasts of Electronique when the times were different. In the moment that Ivo (D’Antoni), the guy that runs the website of Electronique, asked me to do that, I knew that that was something that was beyond the mix. It’s like an occasion to get deeper in my own town, a place where I had always mixed emotions during all the years I had been digging into it, and finally that was a chance to get peace and knowledge with all the infinite productions that had been made in my own town just 20 years before. I see now all this like podcasts as occasions to dive deeper into something, and to be always in a sort of a self challenge, but in the best way possible, in order to get more culture and information.
Yeah, it’s great to see and to hear this, I think the listener can tell that it’s a process for you as well as a podcast, it’s an exposition that you are discovering. It’s like, it has become I guess, the only way for me to keep on going in the future, and make things that make sense, at least to me. Because in the moment I will not have anything to say, I will just shut my mouth, and let other people do stuff (laughs) But till then if I have anything to say, I would be doing it.
