Barrock (July 2010)
Printed From: Progarchives.com
Category: Progressive Music Lounges
Forum Name: Interviews
Forum Description: Original interviews with Prog artists (which are exclusive to Prog Archives)
URL: http://www.progarchives.com/forum/forum_posts.asp?TID=69659
Printed Date: November 24 2024 at 14:48
Software Version: Web Wiz Forums 11.01 - http://www.webwizforums.com
Topic: Barrock (July 2010)
Posted By: toroddfuglesteg
Subject: Barrock (July 2010)
Date Posted: July 27 2010 at 14:33
|
The RPI scene has produced some great bands. Barrock is one of them. They are not the most known band though from the scene. That is what I want to change with this small interview. Valter gave me the lowdown on this band. ------------------------
When was Barrock formed
and do you have any background from other bands ?
Barrock
was formed in 1982, we was born only for
doing again something different. We liked to unite the rock to the
cultured and classic music.
Whose bands were you
influenced by ?
We
have followed from near the jobs of BMS and PFM (Italy) but I believe
to have served something different as the other groups. We
don't resemble to anybody.
Please tell us more about
your forming years and your debut album L'Alchimista from 1990
The
first song ever to see the light was King Arthur, followed by the
vampire. They were years of pioneering music in Italy still reigned
dance music and punk was still alive and kicking well. The tools we
used were more strictly analog synthesizers we could afford was only
monophonic, did not exist the sequencer, and who wanted to play, had
to really do it. Then some leave, forced to replace training with
those elements that were then the final nucleus for the following
years. The original saw three female solo voices, but even just
before the first Japanese CD, one of the voices, Laura Ivan, left the
training to concentrate on a solo career in the most reassuring and
peaceful world of clubs and music softer. Curious
history of the first CD in Japan. It
all began with our participation in the project EXPOSURE, which was a
work of the then little-known Steve Wilson, the mastermind of the now
famous Porcupine Tree. In 1988 he was selected along with the
Venetian Asgard, after it had sent a tape and offer participation in
the famous compilation of European progressive rock. With great
honesty, the contract was clear that we would not have won any money,
but promised to let us know half the world, with all charges against
them completely. To complete strangers like us, was certainly an
acceptable proposal and ultimately quite appealing. We
accepted and were then placed together with the LP Isildurs Bane and
Rivendel. As
promised, this release was really around the world and our track, the
visionary "THE WITCH" attracted the curiosity Japanese
label that distributed quell'LP SPRING SONG CORPORATION in Japan. It
was a Sunday morning I received a strange phone call from a lady or
oriental, asking me if I was interested to record a CD for the label
of Mr. Shingo Ueno, President SPRING SONG CORPORATION Japan. I
thought it was a joke, but instinctively accepted the appointment to
be there a month, in the most famous of the world: the Caffè Florian
in Piazza San Marco in Venice. To recognize us, I told the lady that
I had the arm, the album cover EXPOSURE. I made a round of phone
calls to make sure that the label actually existed and my friend Gian
Felice Fugazza, then professor of electronic music at the
Conservatory in Bologna and founding editor of the magazine Musical
Instruments, I was advised to contact an expert in international
record contracts Mr.
John
Christmas, today became a member of the Board and founder of the SIAE
Expanded Music of Bologna. For the uninitiated Maestro Fugazza was in
the seventies, even the music consultant of the company which
imported the Monzino Moog in Italy and has also been a great friend
of the late Bob Moog, who attended along with all the international
fairs musical
instruments. Signed
the contract in Venice under the supervision of Christmas, recorded
the work in Udine on a 16-track analog multitrack and shipped in
Japan, the classic "pizza" on tape at 1 / 4 inch. The CD
came up with the funny typos on the cover that cripple some Italian
words, but tell us that the East was a success. Some
items had been reported that record of the year in Korea, but a
little messy label Japanese management prevented us to give a result.
The
label found itself in economic crisis and decided not to produce more
new artists but to focus only on sales that were already in the
catalog. The
informants were chief international all'espertissimo John Christmas,
we stated that despite the honesty of Mr. S. Ueno
was not questioned, its distribution policy was to say the least
"strange". Some
friends visiting that country have told us that it was rather
difficult to find even then our album in stores in Japan. The
echo of that record was still strong, and it was nice to get several
letters from various local and international labels that were offered
as new partners for the second cd Barrock. Among the many proposals,
we chose the Dutch MUSIC which offered more guarantees and was known
then only to produce and distribute works of great prestige.
Meanwhile,
with the proceeds of the first disc we managed to equip with an
8-track analog multitrack, synchronized with SMPTE by Atari. Said
about the disc was recorded at "THREE CONDOMINIUM STUDIO",
a name invented, because due to a number of removals that time, we
moved the equipment in the basement of three different blocks, where
to make our records the species Sunday afternoon. I remember that
during the sessions for recording vocals the most excited of the song
"The revolt of the people", the voices were shouting in the
headphones listening to the instrumental part: a neighbor rang the
doorbell to make sure everything was going well and there was in
implement
a furious row with the risk of having to ask for assistance from the
police!
The album was well distributed and enthusiastically reviewed by the press who turn up our noses just in front of the synthesizer sounds of the drums (but in a condominium that we could not rely on silent battery pad that triggers digital modules). Too bad that shortly after the release of our second CD Oxiana the label folded and the third and latest CD, we rely on our local MELLOW RECORDS which still distributes the catalog and our latest album, The Witch. 
Oxian from 1994 Many
tracks as "The World of Oxiana" were actually part of some
soundtracks that we had written for the theater. However
there are energetic songs, though perhaps the more general
equilibrium tends to be descriptive. Again
bad luck would have it, we pursued our Dutch label, the "YES
Music" sinking into bankruptcy.
La Strega from 1999
The
Witch was created by collecting many experiences that came from the
late '70s, when there was a group of progressive Pordenone called
Epthafonia consists of several Conservatory students who have written
pages of authentic vintage progressive rock. Since
I was part, I recovered the manuscripts and records of that time. I
contacted the other author (Mauro Martin) tearing him from his chair
and slippers, forcing him to join the SIAE and reincidere those songs
written more than twenty years ago. Thus we have "mutation,"
"The Jester", "in the den of the witch," and
"Romanza," all tracks strictly DOC The others are the
result of my experiences more or less recent, such as "dream"
originally an orchestral piece performed in real time by students of
the conservatory orchestra of Udine.
How was the writing and
creative processes in your band ?
Can
I just say that every piece of Barrock is the product of a long
gestation period, where every note has its precise role and its
importance. And
yet we try to give our execution determination and strength to live
performance, as if the song was born at the time: those who have
heard live have often noted the compact executive that sets us apart.
Avoid instead of performing those songs live, where the atmosphere is
more rarefied and difficult to assimilate. We do not want an audience
that unnecessarily tiring live so expect something else, but without
expecting it to be a concentration and attention that only by your
home stereo you can give.
When and why did Barrock
split up ? Barrock
are currently on standby, that is not in operation and even loose:
simply wait for better times and offers significant to be able to
move. Our
machine is a heavy set in motion and progressive market does not
allow us the luxury of living only with our music. Although our
training is the same, waiting quietly and frequently restored
confidence to go to any concert or to exchange the latest record.
Anyone can contact us at http:// http://digilander.iol.it/barrock - website and
leave your message.
What
was your experience with the music industry and how is the
availability of your albums today?
The
progressive live music on a few numbers. Even
we have more copies of our records to be distributed. Until
we are interested in the majors, there is little hope ..
What have you been up to
after the split up of Barrock ? Are you still in contact with the
other ex Barrock members ?
We
are always in contact and also ready to return at any stage. Thank you to Valter and Barrock for this interview Their PA profile is http://www.progarchives.com/artist.asp?id=38 - Their home page is http://digilander.iol.it/barrock -
|
Replies:
Posted By: Finnforest
Date Posted: July 28 2010 at 11:55
Nice one Torodd, thanks! 
|
Posted By: seventhsojourn
Date Posted: July 28 2010 at 14:30
Cheers torodd! A band that I will pay more attention to, for sure. 
|