Tag Archives: Bertil Nilsson

Let’s Talk and Play – Morkebla


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Morkebla is Alberto Rosso, Alberto Rosso is Morkebla. If you repeat this statement like a mantra you’ll get to the point this phrase will totally loose sense. And this is what happens when you listen to his soaking music, as you keep on listening you slowly loose sense as a human being melting yourself with sound. Have you had the chance to watch The Blob, really weird 1958 movie starring Steve McQueen? It is about a mysterious creature from another planet, resembling a giant blob of jelly, who keeps on getting bigger swallowing up every person who face his path. Why are we telling you this? Because Morkebla’s music is just like The Blob, absorbing everything that its sound waves hit expanding through the air.

Morkebla provided Eclectic Collective with this detached mixtape and to be honest with you we recognize a certain recurring pain in life that can’t be avoided. Morkebla isn’t painful, he only wants you to know the space that surrounds you is not empty but constantly filled by pasty sounds that slow down your common activities.

 

EC: Who or what is Morkebla?

It’s a delicate question because beside the choice of the name, a matter that we’d like you to introduce us, it defines who you’re pretending to be. Morkebla is a musical entity born a few years ago from a condition and necessity to draw a part of myself into music, like painting on a dark blue canvas.

 

 

EC: Let’s prepare for a really simple question: in your opinion is there a difference between music and noise? Please note that I didn’t ask you “What is the difference between music and noise?” because this question entails the presumption that the difference exits.

There’s no difference at all, in my opinion even silence between different sounds is music itself. It just depends on how the “listener” perceives it.

 

 

EC: We want further ponderings from you on this matter. I don’t know if you’ve seen this John Cage’s interview (yes, John Cage is everywhere but he deserves it) talking about sound an silence. Listening to your production it seems to me that you want to include both noises and silence in your tracks. There are these pieces where you put noises apparently other than music but I feel that they’re very entangled with the composition.

It’s exacty what I wanted to obtain in some music of mine (the most ethereal and abstract works like “Nowhere, OK”) – now the idea is still there but Morkebla has become a bit more different with my last work (using lots of vocal samples for example) and will reshape every time again and again.

EC: Finally, I could say that yours is a representation of the activity of sound.

Thank you, that’s a good description indeed.

EC: We find that your first record, ‘Nowhere, OK’, is a sort of conceptual production: ‘Mooloolite’ is a representation of your illusory peaceful childhood, even if beside flashes of amenities there are obscure premonitions while ‘A Fish Hook in My Finger’ is the ultimate resignation at the end of a path that brings you to discover real and cruel aspects of life. Do you feel any affinity between you and this brief analysis of your work?

EC: I’ve never thought of it this way, but yes, I think it fits the description somehow. That album was composed in a bit less than 2 years which is quite a long time for just 3 tracks. Like a long life cycle.

EC: What kind of relationship did you establish with the small Haunter Records? It seems one of those label to be proud of in Italy music environment?

The Haunter Records guys are great friends – I did a track for their first tape compilation called “From Northern Italy, While On Our Way To Social Collapse” and a remix for a very promising guy named WEIGHTAUSEND. I also played live for a festival they do called Saturnalia – I would like to send them new music in the future for sure.

EC: Let’s talk about your forthcoming material.

After my last album on Reckno I have 3 more albums coming – 2 LPs and one tape. The first one is an LP for an American label called slumdiscs and it’s a split. I can’t say much more on the 2 other releases, but if you give a closer and deep listening to the mix I have prepared you will find some of this new material inside.

 

 

EC: We really like technical stuffs and nerdish instrumentation so let’s talk about what kind of tape recorders and microphones you used in the past to record sounds.

I used some Zoom H2 or H4n recorders plus some standard field recording equipment and 2 different TASCAM four track cassette recorders. I sometimes also use walkmans or my phone or whatever is there at the moment I am feeling inspired. I still own some of this stuff but at the moment I prefer to compose by using samplers, synthesizers and drum machines.

EC: Let’s talk about Morkebla’s initiation to music. Black Metal? Noise? Ambient? How did you explore these genres and how did you find them useful?

Well, this is a question I have answered many times, it’s just my musical background and I am nowadays very happy to see that all the musical “genres” are melting and contaminating each other, so that “labelling” what we are listening is luckily becoming more and more difficult. I like this idea and I think Morkebla is a good example of this developing contamination.

 

 

EC: Do you have a specific approach in listening to music?

I enjoy listening to almost every kind of music, usually I just sit in my studio with vinyl or digital tracks and let everything flow – sometimes I also listen to music outside with a walkman or mp3 player.

EC: What are you listening at the moment? Are there any artists you’d like to share with us? 

Some of them are inside the mixtape, plus I’m listening a lot to Heith, S Olbricht, Vaghe Stelle, Unfinished Portraits, Rainbow Lorikeet, AL-90, KETEV, Beatrice Dillon, etc.

EC: Can you tell us more about your relationship with Sara Cattin who realized some visuals and artworks for you? Is she able to give shape to your ideas or she brings her own vision of your work?

That’s an old collaboration – now me and Sara are not working together anymore. My last A/V collaboration is with an Italian artist called Marco Mendeni and can be seen here: http://www.ursss.com/2014/10/morkebla/

 

 

EC: Why did you decide to release your works on tapes?

It’s just a label’s choice – I like tapes but as I said I’ll hopefully be doing some wax release very soon.

EC: Is there an haiku you’d like to use to describe your music?

I’ve just googled for some haiku and I found this one I like:

Question why I’m here
And I’ll tell you right away
My troubled soul is now healed.

 

 

Artwork: Bertil Nillson