The name Miracle of Love is not one that would typically evoke visions of the apocalyptic or destructive kind. But in the case of Italian artist Lorenzo Corsetti, the term does in fact bring to one’s imagination such visions. Miracle of Love is the moniker under which he works. The latest release, You Will Be Free merges elements of dark ambient, noise and death industrial. We are very grateful to Miracle of Love for their time in this interview.
For the people not familiar with your work, could you provide us with a bit of a history on Miracle of Love?
My name is Lorenzo, I come from Rome and in everyday life I’m a sound designer for advertising and events. I’m also the co-founder of White Forest Records and Overture Militia Inc.– two labels focusing on electronic music. The latter is also the one that released “You Will Be Free”. Speaking about Miracle of Love, this is my personal post-industrial music project and it took shape more or less during the course of the last year and a half.
As I started composing under the alias Miracle of Love, being more on the prolific side, I found myself piling up track after track in a few months. I decided, in the first place, to release a few EPs with the most compelling pieces that I had collected, and after a full year of writing music, I had put together a dozen tracks – both released and unreleased – that shared a coherent sound and narrative. So there was the LP.
It’s said in the notes I received that this album, “You Will Be Free” explores the contrast between the role of the martyr and Christianity. How did you attempt to do this sonically?
About the concept it’s more about a clash of opposing perspectives. I wanted to explore an interpretation of freedom that is not meant as the alternative between adhering to something or refusing it (in this case a doctrine). Of course the figures were meant to serve as just metaphors since the Christian Catholic references were drawn from my personal experience and education.
On the sonic side i think that there isn’t a formula that gives you a portrait of a concept or a feeling, at the end of the day, art is not about replicating didactically but it’s more about interpreting something with your own vision. You just have to listen to the tracks and follow how they resonate with you and your experience.
Speaking of contrast, (and specifically with regard to sound only) often the reason for people listening to noise music, dark ambient, post-industrial etc. is based on contrast, sonically and otherwise. For example, merging different degrees of abrasiveness or delicacy or volumes, textures. Having said that, what is your goal in terms of sonic contrasts?
I don’t see contrasts as being a defining element for the genres you mentioned. Most of the time, they are implemented as a personal compositional choice by the artist. In my case the goal is to alternate different moods in an abrupt way or building pathos.
Was there a difference in the type of atmosphere Rubber Nurse and Devis G. tried to make with their remixes?
Yes. Rubber Nurse is a producer from Berlin, and I think you can sorta feel her cultural background and context dripping into her work. Her treatment on the track was stunning because it added more decadence to the sound. It really reminded me of Vatican Shadow in his less techno shape.
Devis did a less drastic change on the tune, adding some personal touches here and there to render a renewed sonic interpretation without distorting too much the original mood of the track.
Can you talk about how you came to work with Devis G and “renowned industrial project Teatro Satanico?” And what should people know about that group?
It was really easy: I sent him an email. I’ve been a fan of his music for a long time and to me it has been an honor to work with such an industrial legend. He’s a maestro of the genre, a great musician that influenced a whole generation of industrial producers with his duo Teatro Satanico and other personal projects.
Can you talk a little bit about your studio-hardware and software used to create your work?
Almost 70% of what you hear is the product of audio editing done on software and plugins. For the noise apparatus I sampled sounds from a little modular system and some hardware effect. I also used some synths that I have in the studio, however, the bulk of the work has been made with a DAW.
Did you utilize any field recordings? What “found objects” did you use for the recordings?
I’m not a big fan of field recordings even if sometimes it is useful, but I find the process really uncomfortable. The most recorded stuff are metal objects: cans, barrels, chains… stuff like that.
What musical influences can be counted as influential to you? Are there any noise, post-industrial, experimental recordings which you feel are most important to you and the underground scene?
My gateway to this kind of music as a teenager was The Downward Spiral by Nine Inch Nails. It’s an album that heavily influenced my personal taste in music. Through the years I discovered a whole underground world made of incredible artists. I cannot really choose a couple records, there are too many to be mentioned. If I have to choose 3 industrial artists that have been relevant both to me and to the underground music scene as a whole, I’d probably say Genocide Organ, Atrax Morgue and Throbbing Gristle. But there are really too many to mention.
How and where do you think “industrial” then became “post industrial?” What elements separate the two?
Post-industrial is all that came after the first industrial wave. It’s a kind of aggregator of sub-genres: power electronics, neo-folk, EBM, dark ambient, death industrial, power noise… basically everything that is not purely industrial falls into the post-industrial label.
Your last release “We Believe What We Say” was recorded live in Rome. Are your sets mostly improvisational or what preparation do you bring with you? And how is your live equipment different than your studio?
Yes, all my live performances are almost 90% based on improvisation, that’s because I’d find it really boring to be opening a laptop, running Ableton Live and to blindly follow a studio-scripted show step by step guide with minimum human interaction. So I decided to sample a lot of noises, textures, synths etc. in order to combine them on stage without any prescription plan. This gives me a lot of freedom and interaction with the sound. On stage I use Ableton Live as the “core”, a DS1 Boss pedal for distortion, a mic for speaking and a mixer for coordinating the performance as a whole. In the first place, the idea was to also bring a multi-track cassette recorder with synths recorded on tape to add some rough texture to the sound, but after a few tries I realized that it is mostly useless.
If you could re-score a film, what would it be and why?
That’s a tough question because almost all the movies that I love already have beautiful scoring. I’d say PIG by Rozz Williams because it has practically no scoring and In the Mouth of Madness by John Carpenter because I think that it would be even more disturbing with a darker scoring.
What are some other plans you have for 2019/2020?
I have no particular plan, for now I’d like to perform around with Miracle of Love and to grow Overture Militia Inc. with some nice new releases.
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