We spoke to SPECTRA*paris’ main woman– Elena Fossi post Modernism. And, what it means to her.
“[We] were identified as depraved and dangerous to others.”
Tell me the story of your new album Modernism?
Modernism was created in response to the nefarious and liberticidal measures that came to light in Italy during the darkest period of the so-called pandemic. When we were all placed under house arrest, I could not bare to think about dropping out of life, I began to compose songs with no idea what I wanted to do and why. There was a vision in my mind which I partially translated into Moondrops. I could hear a mantra buzzing in my ears. Composed with a kind of urban gothic and combined with 80’s rhythms. That was the first phase, which saw the birth of Moondrops, together with Angry Bite, Indigo Cypher and Poison Fresh.
Meanwhile in Italy, people who had decided not to obey state directives were identified as depraved and dangerous to others. We were excluded from a social life. You could not work, go shopping, go to post offices, banks, restaurants, bars, motorway cafes, or take trains or buses.
Fines for dissidence began to pour in. Conscientious doctors who went to treat the disease directly in sick peoples homes covertly, like Carbonari, were suspended from work. Here is where the angriest part of the album was born, between one demonstration and another.
There are many guests appearing on Modernism. How did you come to collaborate with them?
There have been many events and occasions that have made the collaborations you find on this album possible. Fakeba, who duets with me in Morodern was fabulous when I went to Africa. First with Kirlian Camera and then again with SPECTRA*paris. What hit me was her fresh and passionate voice and the compassion and elegance she extended to us back. John Fryer and Michael Ciravolo are also on this album. Which I am thrilled with because both represented something important to me, but in different ways. All I can say is that there was a high intensity as our musical paths converged.
“I turned away from rules and concepts.”
I have created powerful songs and crossed borders with Seasurfer and John Rox. Seasurfer and I literally made melodies fly while John took me our of my comfort zone. The first time I worked with him I found myself in a large disco filled with all kinds of impossible and unimaginable characters. It was fun. And, I was introduced to Project Pitchfork when they remixed Angry Bite, which they did a fine job of!
Lastly (drum roll) I had Angelo Bergamini by my side, who to be honest, drove me crazy with his remake of Poison Fresh (Doctor Phibes Mix.) Angelo’s hand is undeniable and his magic touch is recognisable a mile away.
You speak about changing your approach to songwriting in the liner notes. Can you tell me more?
It was instinctual; I turned away from rules and concepts. So, it is not based on any stylistic norms and so does not have a need for the parts to be aligned. Also, I have many stories that were experienced at special, and different, times. Where anger, joy and an unbridled desire to fight prevailed. However, the elements are bound by the visuals of a past that the listener must not fall into. Like a trap of easy and boundless nostalgia.
Arthur Schopenhauer dominates the pages of the booklet: “Sometimes we think we are nostalgic for a distant place, while strictly speaking we only miss the time we lived in that place when we were younger and fresher. So time deceives us under the guise of space. If we make the trip and go there, we become aware of the deception.” Modernism reflects on that, that if we do not stop for a moment we will be swallowed up by the objects we fill our lives with.
What will be next for you, now that Modernism is out?
I have so many ideas and it is not easy to hold them back!
[Edited for brevity – Ed]
