DIE SONNE SATAN is a band that despite celebrating the 25th anniversary of the debut album I wasn’t familiar with. Anders Ekdahl ©2018

Metaphora is 25 years old. Why did you decide to re-release it, apart from the obvious
-The 25th anniversary is a pure coincidence. After having been positively mentioned by Antonello Cresti in his book “Solchi Sperimentali Italia” published by Crac Editions, I was contacted by Matteo from Annapurna and was proposed to re-edit the whole DSS production. With the help of Maurizio Pustianaz (Gerstein, Noisebrigade), we retrieved the original material, and restored and remastered all the tracks.

I’m fascinated by band names. What was it that made you settle on the one you have, and what does it mean to you?
-The project borrows the title from a novel by Georges Bernanos dated 1926, on which Maurice Pialat based the eponymous film in 1987. As far as I am concerned, DSS means self-determination, the exigency to express oneself in opposition to conventions and conditionings. DSS has an iconoclastic attitude and was conceived as a sheer sound suggestion and not as a musical composition oeuvre.

What does it mean to you that there are people out there, who actually appreciate and look forward to what you are doing?
-Although my last productions date back to 1997, there are still people involved in the dark ambient scene who are used to thinking of DSS as a cult project. I cannot assure that there will be any further developments for DSS in the future, but this sudden revival of interest towards my work might get me to explore new

How important is image to the band? What impression do you want the fans to get of the band?
-Image is almost as important as music itself, since my music was conceived to induce images (in the listeners’ minds). I love creating artwork and graphics; maybe DSS has always had rigorous aesthetic standards, but at the same time romantic and decadent feelings.

I’m a huge fan of Lp artwork; how important is it to have the right artwork for your album?
-As I wrote above, artwork and graphics are important representations of musical contents, and that is why I decided not to propose the same image used for the original “Metaphora” tape release in 1993. The new photograph, shot in Saint Peter’s Basilica in Rome, is perfect for the vinyl release cover, and represents my exact perspective on religious symbolism.

We live in a superficial world today where you don’t exist if you are not in YouTube or Facebook. Has social media been only beneficial in socializing with the fans or is there a downside to it, too?
-We have always lived in a world that holds appearance dearer to substance,; the new media have only underlined the evidence.
I have personally continued to exist even without a Facebook page, which I have only recently opened, or YouTube. These media surely favour the contact and the flux of information among people, between musicians and their fans in this case, but at the same time by making them way more sterile.

When you play in a band, does it feel like you are a part of a massive community? That you belong to something that gives meaning to your life?
-Feeling as a part of a community has never had any particular importance in my life, I do not like closed and self-referential communities, they do not belong to me. As to music, I have always worked in complete autonomy, although always open to possible cooperations whenever they might have happened, for instance Atom Infant Incubator with Claudio Dondo.

When you are in the middle of it, do you notice what state our beloved music scene is in? Is the scene healthy or does it suffer from some ailment?
-I must state beforehand that if it had not been for the retrieval of the old material, I would have been far from the musical scene for quite a number of years. As a music consumer, my own never-ending research has never stopped, and I continuously need new stimuli.
The dark ambient or industrial scene, or whatever name you want to give it, to which I was related in the past, has not been in my listening for quite some time, so it is rather difficult for me to express an opinion on its state of the art. I could say that, generally speaking, the music scene has seemed a bit without vitality for a number of decades by now.
How much of a touring band are you guys? How hard is it to get gigs outside of your borders?
-As a one-man band, I have never played live, and I do not think that my music could be suitable to live performances.

What will the future bring?
-For the time being, I am concentrating only on the re-release of my old material; Maurizio and I have completed the retrieval of the whole production by DSS, and in the following months I will be planning the next releases.
I would also very much like to bring back to light again and develop some old tracks dating back to 1995 that were released through the label Allegorical by Fulvio Delprato under the name of ‘A Secret Person’.

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