1 – Varese describes himself as a ‘worker in rhythms, frequencies and intensities’. How would you define yourself?
Well, I didn’t really took the time to think about how I would define myself.
..Maybe I’m just a sound cook.
2 – In an Arte documentary about Jean Michel Jarre’s sonic explora, he talked about a very interesting point, how when he started making music, there wasn’t any references, freedom was totale without complexes. There was a big advantage to prepare the ground. As a pioneer of industrial techno, do you feel the same with your own music explora?
I never learned music, I just learned on my own how to make the sounds I liked with electronic machines.
I felt that electronic machines were the ultimate weapon to create music.
It was the best way for me to be able to build what I could get in mind.
With hands on analog synthesizers I started to search and found the sounds I like an the sounds I dislike.
3 – Most of your performances are unique. They are in a way based on the notion of ephemera, they become this ‘instant’ which will only remain alive in memory. Is it still important to you? Do you archive your live performances?
I’m not archiving all, sometimes yes, sometimes no, anyway when it’s done it’s done and over.
Live performances depends on a lot of factors, the best is to record with microphones if something is to be archived.
4 – John Cage said that according to Zen’s philosophy ‘if something is boring after 2 minutes, try it for 4 if still boring, try it for 8, 16, 32 and so on. Eventually one discovers that it’s not boring at all but very interesting’. When making music , do you sometimes feel bored.. Are you perseverant?
I often feel bored, but I’m perseverant as I’m still making music.
Anyway, there’s tracks that are not made to be finished, they are here then to bring ideas for others. Deleting a lot in music helps me to focus on what I feel resonant to me, so feeling bored is essential.
5 – In 1988, you released on cassette your album ‘out of terror/recovered flesh’. One of our favorite is ‘ Bad News Today’. We liked its failure/microglitch appeal. Could you tell us more about the process of this track? We can hear many different short durational sounds/noises… Are they all sampled?
Oh, it was a long time ago… What I remember is that I was in a quite upset and agitated mood, and yes it’s samples made on the fly with a Roland MKS100, recorded first on a Grundig TK46 then re recorded with more samples.
6 – In this interview, you said that IAV ‘s name was decided in a ‘youthful moment of playful megalomania’ when you were young. which means in hebrew God.
When Minimal Wave contacted you, they asked you to reuse it, were you reluctant about it ? Although your perception now has changed, why did you accepted to reuse the name? Do you think that somehow the decisions we make when we are young are not that meaningless?
Don’t know why the decisions we make when we are young shall be supposed to be meaningless, they could be strange, weird, stupid or good decisions that’s true but they’re not meaningless.
But yes I was reluctant about it because I felt it was not me anymore. I accepted to reuse it because it make sense with the Minimal Wave project in 2009.
7 – You also said that In Aeternam Vale is a ‘laboratory’. Is it for you a way to assert more freedom? Also by being now solo, do you find yourself more free?
More freedom, yes certainly because music is a language that places the mind in a free state. IAV always had and still have guests regularly, but I’m not more free when solo.
8 – Most of your releases are in the format of cassette. What appealed you in using this format? Are you still using it today in your recording process?
Cassette was a media that was cheap when I was young and started recording, lot of « alternatives » in music were released using this format. I’m not using it anymore to record.
9 – Which machine are you currently using ? Is there a new machine that you would like to possess?
I’m using a lot of everything, I’m building my own modular synthesizers for my own needs and use also machines from manufacturers like the Korg MS20m, my old System100 Roland, Elektron Analog Rytm, Analogue Solutions Vostok and also Software synths and drum machines like the Xils3 the FM8 and Fxpansion Tremor.
10 – We are curious about your label ‘Garde Au Sol Productions’. Is it doomed to remain underground or are you planning on resurrecting it someday?
Well I’m not a label manager, so it’ll remain underground for the moment.
11 – What music are you currently enjoying and what lies ahead for the remainder of 2015?
I’m not listening that much to music these days, 2015 will be finished soon, I play in Torino in December and there’s more to come in 2016.