Rudi Punzo
Italian artist
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biography
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Interview: 10 questions
1. When did you start making music, what is/was your motivation to do it?
Back in the first 90’s, settling down after a life of adventures, I started creating Kinetic sculptures: a peculiar, maybe dirty, sound, a dissolved noise that was however eligible as a musical sound, was their remarkable side-effect. I thus decided to organize a set of these sculptures and play music.
2. Tell me something about your living environment and the musical education.
Despite a natural gift – a “good ear†we say in Italy – I was scared to death from the sight of my older brother suffering horrible pains from a piano teacher lessons. As anybody else I was “playing†an acoustic guitar in the hippies years, without any skill.
3.Is making music your profession? What is the context in which you practice music nowadays?
My profession is Art, particularly Sound Art. International experimental music festivals, Theatre festivals, Art Galleries venues the context.
4. How do you compose or create music or sound? Have you certain principles, use certain styles etc?
Absolute freedom in improvisation my only principle.
5. Tell me something about the instruments, technical equipment or tools you use?
My musical sculptures are the core of my music: they’re equipped with low-fi cheap piezo – electric pick-ups. Besides that, the use of a couple of looping machines gives me the possibility to play some four, five sculptures at once; some electronic effects, echo pedal and electronic basis.
6. What are the chances of New Media for the music production in general and you personally?
Personally I seldom use a laptop for my performances: I love to produce Material Music and don’t want to be confused with pure electronic artists. Of course I adore the possibility to create compositions with some freeware or shareware tool as Audiomulch.
7. How about producing and financing your musical productions?
Frankly I’m not so much interested in recording my music since I think that the freshness of Live improvisation is impossible to render on a record. My performances get usually sponsorship from institutions (Festival, Culture Institute etc.)
8. Do you work individually as a musician/soundartist or in a group or collaborative? If you have experience in both, what is the difference, what do you prefer?
The first experiences with music on my sculptures was with musicians I invited, but…they didn’t feel the “sound of materials†– so the next step was collaborations with different kind of musicians, and there I felt strained to accept rules I didn’t like. Anyway I adore jam-sessions and collaborations with musicians, classic singers and poets but – until now – never find the perfect one.
9. Is there any group, composer, style or movement which has a lasting influence on making music?
The main thing I appreciate is Energy – and that means Rolling Stones (well, before mummification)
10. What are your future plans or dreams as a soundartist or musician?
Lately I created an “airborn†electroacoustical set, so I can travel all around the world with my show_ now I can have limitless dreams and I’m waiting for invitation from Japan, New Zealand, Australia etc….
out of competition:
Can works of yours experienced online besides on SoundLAB? Where? List some links & resources
All listed online at: