This interview with Mauro of
Canaan features questions by Y. Arkadin
Canaan is a vehicle for mental and physical
anguish. When I first heard Blue Fire several years ago I could not break out
of my mind the loneliness and hopelessness that must have played a role in its
manifestation. Like tragic Greek literature, it ameliorates pain in a sense by
capturing it in advance, twisting it and releasing it out into the open. The
atmosphere is cathartic, but deadly for the uninitiated. It seems to me an
analysis and mystification - I would be careful to use 'glorification' - of
misery, but I can never imagine listening to it in a truly fragile or disturbed
state of mind. It would be much too overbearing. Canaan's music is relatively
simplistic, but only superficially so, for inside is a bottomless ocean whose
waves are never-ending, and what lurks deep in its water is only for the
mariner most daring to know. I got in touch with the ever active Mauro Berchi
to discuss his musical project, experimental music, musical aesthetics, and
much more. Follow me into the open womb
1) Greetings, Mauro. I would like to ask,
firstly, how you first got involved in making music? For example, what were
some of your first experiences with creating and recording your own songs? Did
you always have confidence that you would be able to play and compete with
others as an unique and original identity as you are today in the underground?
Could you ever foresee yourself in the past as involved in such activities as
you are now?
Nice question. As far as I remember, the
switch that turned on my desire to play music was CELTIC FROST's "To
megatherion". This record grabbed my attention in such an heavy way that I
said: is it really possible to compose music like this? Yet this desire of mine
remained frustrated for quite a long time until I finally found some people to
play with. Before that date (October 1992) I never did any experiment to record
music alone, as I considered (and still consider) a band like a group of
individuals who contribute to the same cause; I'm not too keen on one-man
bands, as I think creativity must in some way be subjected to approval from
somebody else on the same mental wave-length of yours, to avoid redundancy and
excesses of arrogance. Regarding the identity of our music, all I can say is
that we never plan anything. When we started playing in RAS ALGETHI, the music
simply came out that way, and the same happens with CANAAN: whenever we gather
to play, we let music flow freely, and even during the recording sessions,
improvisation and complete freedom in modifying/re-arranging songs play a very
important role.
2) It is interesting that you chose the
name Canaan for your band given its historically religious aspects. Canaan, as
you know, was originally mentioned in the Old Testament as a land in southwest
Asia where a people known as the Canaanites existed. It seems that they were
involved in primitive religions involving worship of deities Baal (or Baalzebub
as He is also known) and Ashtoreth before being assimilated by the Hebrew
people. How did it come about that you adopted the name? Was this historical
connection intentional in any such way?
I was fully aware of the religious
implications when I decided to pick CANAAN as our name. However, the choice was
rather guided by my love for the well-known german psychedelic band AMON DUUL
II, one of whose songs was titled "Kanaan". Canaan has NOTHING to
share with the cancer called religion, and even if this choice could be
regarded as misleading, I don't care that much..
3) I know that you Mauro are very
interested in experimental music generally. How do you recall discovering
experimental or avant-garde music? What were some of your initial reactions?
The first examples of industrial music I came
across were the early works of SIGILLUM S - era 1986/87. Having a mainly
"metal" background at that time, I remember I had some troubles in
focusing my perception upon such a different kind of "music" and a
different stylistical approach, as I was used to consider music done with
proper instruments and eventually sung. Yet good music is good music, no matter
how it is played, and it didn't take me long before falling in love with dark
ambient/industrial and power electronics. The process of
evaluating/absorbing/enjoying/analyzing music changed during my lifetime
(experience is everything.), yet the only thing I've constantly been after in
music was the right negative vibe. When a music establishes a link with my
mind, it's not important whether it's pop, dark, metal or industrial. Good
music is good music. Stop.
4) It strikes me interesting that Canaan
thus far has evenly divided its pieces between the experimental and melodic,
instrumental and vocal compositions. Will you ever experiment in amalgamating
these styles in the future? Or do you prefer to keep the lines drawn distinct
between one and the other, so as to increase the sense of 'purity'?
I don't know what we'll do in the future.
Uncertainty plays a very important role in CANAAN, and at present stage I can't
say we'll try a way rather than another, which is pretty stimulating to say the
least In our new album "Brand new Babylon" (whose recordings ended in
April), there is a song amalgamating these two components, though I'm not
singing it, as we took an indian vocal scale and adapted it to a dark droning
background. Result is nice..
5) Purity or purification rather appears
to play a very large part in the band. Would it be correct to arrive at such a
conclusion? How much of a role does this concept play?
It is absolutely fundamental. Purification
and preservation from the soiling miasms of spiritual decadence is a very
important concept to us all. The way I achieve this "purification"
(if any) is protecting myself from the external stimuli by building shields around
me. The band is probably the strongest, though other ones play a role. The band
can then be considered as a kind of self-exorcism rite we perform to discharge
negativity, cleanse the venom poisoning us, purge the sicknesses, keep the mind
focused, purify ourselves. You see, CANAAN is not just a band, and I doubt I
could explain further this concept. I don't play for "fun", but
because I NEED to..
Canaan caught for
just a moment...
6) In conceiving your music, how much
would you say of the process is spontaneous? What level of collaboration exists
in the construction of Canaan's music overall? Does it ever happen that you
compose songs beforehand in your mind, perhaps culling aspects from dreams, and
then attempt to transcribe them into sound?
I think I have partially answered this
before. All of the four members contribute to creating and arranging the music,
while I'm the only one responsible for the conceptual/lyrical point of view.
Quite often one of us (normally me or Matteo) come at the rehearsals with just
a few ideas/riffs/harmonies. We then develop them together, and keep on
modifying them until a first backbone is ready. Thereafter, anything can happen,
and many of our songs reached their final version (which you can listen to on
our cds) only after the final mixdown process. One of the strangest feelings in
my life ? Knowing that MUSIC is already floating in its final form around me -
and that it's just a question of grabbing/freezing/framing it in some way.
Sometimes I feel I'm just a mean to convey energy - it's not CANAAN composing
and playing music, but rather MUSIC playing CANAAN like unconscious instrument.
One of the most intense experiences you could have, believe me.
7) There have been some comparisons with
your present and past work to the Italian band Monumentum. Do you feel any
relationship with them, nationalistically, perhaps spiritually? Are you still
receiving acknowledgements from people who've listened to Ras Algethi and
cannot forget its existence?
The only relationship I can see between us
and them is the fact that MONUMENTUM former member Anthony Duman is our
bass-player since 1996. This is the only connection. Nationalistically ? I'm
sorry, but the concept of nationalism means nothing to us. About RAS ALGETHI,
we still gather attention from quite a few people, being the only real doom
band Italy ever had. The ultra limited re-edition of our demotape on cdr (100
copies) was burnt out in less than one week, as a testimony of the interest
we're still gathering.
8) Whatever can be said of Canaan, it
cannot be disputed that the music is dark. Very dark in fact. What had drove
you, you think, to creating such dark music as you write today overall? What
can be so appealing in melancholy and tragic themes, as opposed to the
felicitous and celebratory nature of most popular music? Do you think that
tragedy and negativity in music has more of a connection to reality taken
truthfully; that there is more 'truth' to be found in negativity than in
positive emotions?
Upon my nervous system, negative feelings
always acted stronger than positive ones. The balance of my existence tends
towards them. My past experiences tend towards them. My being a negative person
is an innegable fact, and failure was/is/will be a constant. I had pretty
negative experiences in my life, studies, jobs, human relationships. CANAAN
music is dark because we are all such. Other people praise/analyze/focus their
efforts upon the positive sides of life: good for them if they succeed. I have
other aims and needs, and to say the truth I can't see anything particularly
happy in what's surrounding me, nor any reason to praise what's happening. The
human swarm is consuming mother earth's resources, and we are all heading
towards collapse You see, I'm not after TRUTH, as it has too many faces - one
for each human insect. I am just a witness of my slow decaying and slow
withering: disillusion permeates conscious belief, and there's little I can do
but trying to avoid as many traps as I can.
9) I've talked to several people that have
emphatically stated that music is not art, anything but art. But what is music,
if not art? Would you reason disparity between these conceptions of 'art' and
'music' is justified today, as, for example, the disparity between 'politics'
and 'philosophy'? How would you view your own work in such a context?
To my eyes, music is the highest form of art.
If others think differently, it's their business. This doesn't mean I consider
myself an "artist": I just have respect for the most universal and
culture-transcending language called music. No other human product is so
resistant to time and cultures. No other language has such a direct approach
and such fast and assimilable components. No other language resists
structural/cultural modifications this well. Isn't this art ? Well, then what
is it ??
10) Returning to Canaan, I notice there
are very powerful philosophical messages in your lyrics. They are at times nihilistic,
at times mournful, at other times mystical and fantastic. Is there something
you consciously aim for, if anything, when writing your lyrics? How do you feel
about alternating between the Italian and English languages? Do you sometimes
find that your thoughts are easier to transcribe in one language more than the
other?
CANAAN
lyrics are a part of the "rite" I told you previously; I often write
them in a semi-conscious state and only afterwards take conscience of what I
wrote. A kind of "ecstatic" (not religious of course) state of mind
whose results come indifferently in italian, english, latin. When the creative
impulses are strong enough to trespass my normal state of mind, I become a kind
of instrument in the hands of I don't know what. Guess my subconscious is much stronger than expected/foreseen. I
have no special meaning nor any will to force the listener/reader to understand
& appreciate my points of view. I just write what I feel appropriate for
that particular music. Most of my lyrics have different layers of significance,
and it's up to the reader to understand them I would never explain them. Or at
least I would never explain their real meaning..
11) "Walk Into My Open Womb" is
interestingly subtitled the "Apathy Manifesto." In original Greek, apathes,
the root of this word, means "without feeling." Only recently has it
been used to define general lack of interest or concern. This creates a curious
ambiguity and double meaning in my mind. But I don't know whether I'm simply
looking "too deep" into your lyrics. Can it be so? What is your own
view of apathy in the world?
Apathy is a shell, a shield, a protecting
device. Not the only one, but surely one of the strongest. Our culture and
education see it as a pretty negative thing, but if what surrounds you looses
meaning, apathy becomes the most powerful tool to walk on the subtle blade of
life without having your feet cut in two.
12) The booklet of that same release
contains a curious aphorism that caught my attention. What could it mean to
"Love under the Power of Will"?
Control over primordial impulses. The only
thing that makes us different from animals is control..
13) That's all I have for now. Thank you
again, Mauro, for your time in answering this brief interview. Feel free to add
what is necessary in this final space. We'll see you at the nexus.
Thanks for your support and good luck with
the magazine. See you in Babylon.