Interview with italian/canadian EBM-formation DECODED FEEDBACK [by Egor Jikharew, special correspondent of gothic.com.ua in Belorussia]


DECODED FEEDBACK DECODED FEEDBACK came into being in 1993. Their distinctive sound comes from the blending together of two distinctive cultures (European and North American), as well as the perspective differences that exist between man and woman. As a result, their musical arrangements transcend not only national and continental boundaries, but also the boundaries that unfortunately exist between the genders.

In the beginning, their goal was to combine the spirit of punk with the cold perfection of electronic music, but as time went on, their sound developed more into the dark electro-industrial sound they embrace today. After three highly acclaimed self-released demo tapes DECODED FEEDBACK [1993], ELEKTROKUTE [1994], and OVERDOSING [1995], the duo was offered a contract with then one of Europe's up and coming industrial labels, Hard Records. Their first CD, Overdosing, was released in 1996, with an American release on Cleopatra Records.

The quality and power of Overdosing opened more doors for DECODED FEEDBACK, capturing the attention of not just the industrial community, but also of Europe's leading electro label, Zoth Ommog, who arranged to release the band's second CD, Technophoby, in 1997. This CD later came to the attention of America's leading industrial label, Metropolis Records, who arranged for its US release in January of 1998. The band's third CD, Bio-Vital, took their sound to the next plane, showing a band ready and able to break through into the same stratospheric levels of popularity currently occupied by such artists as FRONT LINE ASSEMBLY and :WUMPSCUT:.

In 1998 DECODED FEEDBACK hit the German Alternative Charts (DAC) and were voted one of the best groups on Zoth Ommog.

DECODED FEEDBACK's 1999 release entitled EVOLution, marked their fourth release and demonstrated their growth and established position in the electronic community. This CD was a combination of new and remixed material, including remixes from Bio-Vital by AGHAST VIEW, FUNKER VOGT, IN STRICT CONFIDENCE. There was also a special cover version of the song Bio-Vital done by FROZEN AUTUMN. This CD brought together a perfect mix of Industrial and EBM, pulling you in and enveloping you into the interwoven dance floor textures and symphonic melodies. 1999 proved to be an exciting year for the band with the release of EVOLution, many remixes and extensive touring in North America.

2000 marked a year of change. DECODED FEEDBACK signed with Bloodline Records for Europe, but remained on Metropolis Records for North America. This would also be the year they released their first single, Reflect in Silence. The full length CD, Mechanical Horizon, soon followed it. This CD pulled together all of the elements that was now become the famous DECODED FEEDBACK sound, but added some new touches. More elaborate sequences, less distorted vocals, richer soundscapes. It perfectly demonstrates the versatility of this Italian/Canadian band.

2001 was a year for touring and studio production. In April, they headlined a European tour with NOISEX, SONAR and RE/WORK. In August they participated in their first European festival, Eurorock 2001. They shared the stage with groups like FUNKER VOGT, AND ONE, MESH, FEINDFLUG, ICON OF COIL, and INERTIA. There were no CD releases that year, but a lot of hard work concentrating on their next release.

It's now 2002 and it is proving to be a very productive year for DECODED FEEDBACK, will re-release DECODED FEEDBACK's first CD, Overdosing, in June. It will contain new cover artwork and a bonus track. But the big news is their new CD, Shockwave. It has been almost 2 years in the making. A lot of thought, time, energy and passion went into the making of this CD. DECODED FEEDBACK has returned to a harder, more minimalist sound. Very edgy and powerful. Reminiscent of Technophoby and Bio-Vital. And included on this CD is a very wild remix of fans' favourite, Euthanasia. Be prepared. Shockwave will be released on both Metropolis Records and Out Of Line in September.

Below you can read answers to questions of exclusive interview which the group has given specially for UKRANIAN GOTHIC PORTAL! The group has answered questions together.
DF: Yone and Marco.
EJ: Egor Jikharew (UGP)


DECODED FEEDBACK EJ: Is "Shockwave" a conceptual album? What is the basic idea of an album?
DF: "Shockwave" is an album that represents the shock the world has suffered in the last couple of years. Especially since Sept. 11th. The world is in a bad state and will have to change in order to survive. Humans can be surprisingly cruel and destructive, yet at the same time humane and giving. There has been a wave of shock since Sept 11th.

EJ: How is your music born? Do ideas come first and then you realize tham in an album? Or do all the thins appear intuitively during studio sessions?
DF: Many songs are born from the samples we use, but not always. Sometimes it's a bassline, or melody. It comes from the heart, then grows naturally from there. We bounce ideas off each other. One starts, then the other enhances it. It is a real partnership in creation. Everything happens very intuitively. The music is born from our soul. We never try to create a certain style of music. We just create what comes naturally to us.

EJ: How you think, what does your music unforgettable for the people? What confidential recipes help you to unite in your music such things, as aggression and melody?
DF: We try to combine strength and beauty. These elements exist in the real world, and we transfer this to our music. LEATHER STRIP has been a big influence for us. Claus Larsen is a master at combining powerful pounding basses with melodic strings. His music brings such emotion and we hope our music brings the same emotion to the listener.

EJ: You have abandoned firm Bloodline and have found the new home on Out Of Line. Could you explain, why you have concluded the contract with Out Of Line?
DF: We left Bloodline on friendly terms. We wish them the best in the future. Out of Line offered us a very good contract and we decided it was the right time to change. We are still on Metropolis Records for North America though.

EJ: Where're the sources of your today's inspiration hidden?
DF: The destruction of the world, terrorism, the never ending search for who we are, the state of the environment, etc..... The world is full of inspirations. Good and bad. Our music talks about all things good and bad. Music is our creative release.

DECODED FEEDBACKEJ: What visual images you connect to music of DECODED FEEDBACK?
DF: Very industrial images, machinery, metal sculpture, TV static, Cityscapes, future worlds, Japanese design, minimalism, black/white/grey. If you have ever seen a Clock DVA video, that's the sort of images that connects with our music.

EJ: To what extent the club aspect is important to you? Do you think about dancing potential of the future songs when you build their's rhythmic base?
DF: We never intend to make a song that is dance floor friendly, but we go to clubs a lot, so we like rhythmic music. Beats drive us. It's got to have a good strong beat.

EJ: How much time do you spend in the studio? And what do you like to be engaged in outside of studio?
DF: "Shockwave" and "Phoenix" took almost 2 years to make, but it was worth it. Normally we spend much less than that, but this time we really wanted to push our limit. To see how far we could go. If we are not happy with a song, we delete it and move on to another song. We have been very demanding for these CDs. It was a personal goal for us to push ourselves. We were given the luxury of time by our record companies to perfect our work.

EJ: Formulate yours musical credo for people who knows nothing about DECODED FEEDBACK.
DF: It's hard to categorize your own music. We always tell people who don't listen to this kind of music that we are like DEPECHE MODE, but harder. I don't know if that describes it very well, but people seem to understand. And they seem interested to hear more. It seems that industrial is not very well marketed to the masses. I think if there were more advertising and promoting from all the record companies, there could be a larger audience. But it would take a lot of money for promotion. It's hard to expose this kind of music to the general public.

EJ: How it's easy for you to find an idea, the content for new songs? How frequently you collide with creative crisis? Do you know the recipe of exiting from this condition?
DF: We rarely have a creative crisis. Since we are 2 people, we can balance this between us. It has never happened that we are both in a creative crisis at the same time. If one is having a bit of a creative crisis, the other one takes over. It's normal to have ups and downs. You can't be creative all the time.
Yone: What I do if I am suffering from a bit creative crisis, I do more technical stuff (audio recording, mastering, etc...). This brings me back into the creative feeling again. It works for me.

EJ: How came an idea of using sample with voice of the Russian priest in song "Sythesis"? I think that it sounds very beautifully.
DF: Actually we picked the sample because we liked the sound, we didn't know it was a Russian priest.

DECODED FEEDBACKEJ: What do you think about music which we hear today? Does it really reflects the real world environmen and mood of people? Or there can be a task of music that consists in entertainment?
DF: Certainly the Britney Speares type of music is just entertainment. Entertaining music is fine. It's great to just relax and be entertained. But there also has to be a contrast with more thought provoking music. We hope our music provokes thought. Our songs reflect our thoughts and feelings towards where we are in the world today. Every album will be different because of what is happening in the world around us.

EJ: What films and books have made on you the greatest impression?
Yone: Films: Alien, Jaws, Memento, Curdled, Kissed, Last Night, Terminator 1, Brazil, Bonnie and Clyde. Books: Stephen King books, Ann Rice "Vampire Lestat".
Marco: Films: Metropolis. Books: Bushido, the soul of Japan.

EJ: How the opinions of musical journalists are important for you?
DF: All journalists are important to help promote, get stories out and write about the truth. The only problem is that there are good journalists and bad journalists. A good journalist will review with a non-biased opinion. A bad journalist will review with a biased opinion.

EJ: Could you remember the most pleasant e-mail messages about album "Mechanical Horizon"?
DF: We have received numerous emails about Mechanical Horizon that it's hard to pick out just one. The great thing about Mechanical Horizon is that it reached a larger audience. Mechanical Horizon had a lot of depth and people seemed to feel this. It reached out to many people. This was the most important reaction we can remember. When our work effects and touches people, we feel we have connected with our audience.

EJ: What would you wish to young musicians who create electro-industrial music?
DF: Believe in yourself. The music comes from within. Not from expensive instruments. We started out with only one keyboard, a cheap sampler and sequencer. You don't need a lot of instruments to start out.

The interview has been taken by Egor Jikahrew [special correspondent of gothic.com.ua in Belorussia].

DECODED FEEDBACK: www.decodedfeedback.com


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Ukrainian Gothic Portal c 2000-2001


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