CORPSEFUCKING ART is death metal in the Immolation/Incantation school of things. Really brutal and cool from this Italian band with a name that brings to mind old Italian horror movies. Anders Ekdahl ©2018

A band name sets the tone for the band. With the right name, you don’t really need any sort of declaration of intent. Was it hard to come up with a name? What does the name mean to you?
-A band’s name is as important as their music. In our case, it’s a tribute to Jörg Buttgereit, whose movies represent a grotesque representation of man’s sickness. I think this fully reflects Corpsefucking Art main focus – our lyrics analyze the madness that can be unleashed from someone’s mind, therefore we adopted the monicker Corpsefucking Art almost immediately, and this a very eloquent documentary.

Who would say are the founding stones of the kind of sound you have? Who are your house Gods and how have they coloured your music?
-Corpsefucking Art’s music always focused on a certain kind of USA Death Metal. I guess the bands which mainly influenced our songwriting are Cannibal Corpse and Mortician. Both shaped my guitar playing, while the genre itself fuelled my musical spirit. Death Metal is something slowly eating you from the inside, a true disease.

When you play slow do you have to think differently arranging the music than if you play faster and vice versa?
-The arrangement is always something about instinct. Whether the song is fast or slow, each instrument must be functional to the right movement of the ensemble. The main focus must always reflect the expression of our mood, being this our unease.

Playing live is a totally different beast to studio work. How does your music work in a live environment?
-Playing live is always the highest expression for a band, where music is combined with visuals. This is the most representative moment for a musician, and for Corpsefucking Art this is particularly clear. In our shows, our singer Francesco plays the role of Mr. Daisy, the character always prominent in our cover artworks, holding a machete in the effort to get the audience more engaged.

How important is having a label to back you up today when you can just release your music on any sort of platform online? Are there any negative consequences to music being too readily available to fans?
-Being backed up by a label is crucial, without a good distro, printing an album is quite pointless. Promoting your band only on Bandcamp and similar platforms is not enough. I think there are different stages for a band, and self-promotion works only at an amateur level. Immediately listening to a freshly printed album has upsides and downsides, if – from one hand – I can listen to the music I’m interested in right here and right now, on the other hand, I can lose attention and the intent to listening due to the excessive availability of the record.

I get the feeling that fans that are true to a band, is a lost thing with the easy access to music these days. Do you feel that this is a bad thing or are there any positive aspects of it at all?
-There are still people following and truly supporting certain bands. This easier access only got masses closer to some “extreme” genres, the count of Death Metal bands really grew in the last years and they changed the approach to the genre itself, making it as usual as a detergent.

What to you is a great front cover? What should a cover have to make it great?
-A good front cover must summarize the general concept of the album it represents. As I mentioned earlier, Mr. Daisy is nearly always featured in our cover artworks, being the crucial character of our lyrics, therefore I always try to insert familiar and recognizable elements in them. A front cover must always tell a story, and it can be considered perfect when it creates a continuity across the different albums of a band. You can find a clear example of this in Iron Maiden works, where different elements contribute to a narrative continuity.

Do you feel that you are part of a national scene? What is the climate for metal in your country?
-Compared to ten or twenty years ago, the Italian scene grew significantly, with good quality and activity. I think Italian Metal has no longer been undervalued for many years, internationally speaking – we have our numbers and our relevance. This said, yes, we are truly bound to our homeland.

I use Spotify and Deezer but only as compliment to buying CDS (it’s easier to just have your phone or pad when you’re out) but I fear that soon music as we know it will be dead and buried. What are your worries as a band?
-It’s still beyond me this file trading, which makes everything cold and impersonal. Fortunately, the physical format is still resisting, and even younger people are getting involved and passionate about this may to think about music. As long as people will buy CDs, LPs, and other stuff, I believe these two different visions about art will coexist.

What lies in the future?
-Next June, we will enter the studio to record our fifth studio album, that will be out in December this year for the American label Comatose Music. We are planning two tours for the next year, in order to promote our new materials properly, and a couple of months ago we started collaborating with Marco, Devangelic’s drummer, who will temporarily help as a session musician. Our scheduling is quite thick, and we’ll try to do our best. Thank you for this opportunity, see ya!

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