Lolita Terrorist Sounds On the Making Of “St. Lola (live video session)”
Can you share any interesting or unique musical elements or production techniques used in "St. Lola (live video session)?”
Maurizio: In the live video session of "St. Lola," we aimed to deliver a raw and instinctive performance recorded in our Berlin studio bunker as a gift to our audience ahead of the release of our debut album planned for October 20th. We strived for simplicity and power in the performance opting to use a backing track with live vocals. Additionally, we enlisted the talents of the Italian performing artist and photographer Marilebones to contribute a minimalist and theatrical visual element. To immerse myself fully in the emotional depth of the song, I decided to cover myself in mud and tape, which added a visceral dimension to the performance. The studio version of "St. Lola," which will also feature on our upcoming album of the same name (St. Lola is also the title of the album), was recorded in a former East Berlin building with a haunted history, previously used by secret services during the time of the Wall. We deliberately chose to employ a limited selection of vintage microphones and analog equipment to capture and preserve the instinctive quality of our music. For the drum recording, we utilized a spacious hall with natural reverb, lending a unique acoustic character to the album. The e-bow guitar featured in the track was graciously contributed by lap steel legend Kristof Hahn, known for his work with bands like Swans and Pere Ubu. One particularly interesting element in our production involved using metal sheets rubbed against each other to create layers of noise, which we then processed through a looper to multiply the sound. This unconventional instrument allowed us to craft an unsettling atmosphere that perfectly complemented the emotional intensity of the song.
Could you discuss the lyrical themes or messages conveyed in "St. Lola (live video session)?”
Maurizio: "St. Lola (live video session)" explores profound lyrical themes that delve into the poignant conclusion of a love story. The song's narrative unfolds against the backdrop of a desolate Berlin bridge, specifically the Warshauer Strasse, on a sombre and overcast day. It weaves together an unconventional tale of love - one characterized by a heart-wrenching farewell between two individuals who share a deeply intertwined connection. When I crafted the lyrics for this song, I intended to evoke the emotions of a forced separation. This theme of enforced separation draws inspiration from a historical context, specifically the tumultuous period when Berlin was divided, resulting in countless couples being tragically split apart. During this era, many citizens from East Berlin found themselves forcibly separated from their loved ones residing in the West, and this historical backdrop serves as a poignant reflection in the song's storytelling.
How do you feel "St. Lola (live video session)" represents your artistic identity or musical evolution?
Maurizio: "St. Lola (live video session)" is a unique and unconventional track that defies the typical song structure found in most Pop-Rock songs. Unlike the traditional format, it doesn't adhere to a standard verse-chorus-verse pattern. Instead, it builds tension throughout the entire song with a continuous crescendo, creating a sense of anticipation that culminates in a cacophony of noise and feedback towards the song's climax. What sets "St. Lola" apart is its repetitive and martial beat, which intensifies the tension, contributing to the song's dramatic and cinematic quality. The vocals, on the other hand, provide a melodic contrast. It reflects a desire to create music that is both emotionally charged and sonically adventurous.
Where do you find inspiration for your songs or musical ideas?
Maurizio: I draw inspiration for our songs and musical ideas from diverse sources. The creative process is fueled primarily by traveling and immersing myself in different cultures and landscapes. Reading books and watching movies are also significant contributors, together with attending live theatre performances. I also find it vital to maintain an active social life, engaging in conversations with people from various walks of life, whether chatting with friends or striking up discussions with strangers on the street. Recently, I embarked on an inspiring trip to Morocco, where I acquired some traditional Gnawa instruments. I am excited to integrate these into our next album.
What role does collaboration play in your experimentation process?
Maurizio: Collaboration is a fundamental aspect of our experimentation process. It provides an incredible opportunity to blend my artistic journey with the vision and cultural backgrounds of others. At the heart of Lolita Terrorist Sounds lies a commitment to collaboration, and we have always embraced a multicultural approach. Our lineup has never been fixed, but we have been fortunate to work with musicians from various corners of the world, including Ukraine, the UK, the USA, Japan, Germany, Italy, and Denmark. When I find that some of these collaborations don't quite fit within the scope of Lolita Terrorist Sounds, I eagerly explore other projects. One particularly memorable experience was touring with the LA-based transgender artist STAR AH-MER-AH-SU. Additionally, I had the pleasure of collaborating with the Senegalese Sabar Master Doudou N’ Diaye Rose, who has worked with notable acts like the Rolling Stones and Nine Inch Nails.
