Exclusive Interview with EDE

EDE, a composer, producer, and thinker who creates soundtracks, reorganizes emotions and ideas to create fresh perspectives and new journeys. Together with B.B., the author of the texts, he creates a project that is motivated by B.B.’s emotionally charged photographs, which serve as the basis for philosophical reflections on the course of life.
Music and words go with every photograph.

The first is called Red Leaves. It will be the continuation of a radio and social media campaign with Olga Dischi Volanti. Check out the song and the exclusive interview with EDE below:

1. Can you tell us a bit about where you come from and how it all got started?

EDE : EDE was born from a long experience in composing film soundtracks and member in many band. After many years of composing, he met BB in studio for a speaker performance, with whom he decided to embark on this particular artistic path.

2. Did you have any formal training or are you self-taught?

EDE : I have a principle of formal training and in-depth studies, but over the years and with experience I have embarked on a personally more satisfying self-taught path.

3. Who were your first and strongest musical influences and why the name ‘EDE’ ?

EDE: EDE is an acronym, even if we don’t want to say of what. My influences are many and varied: 80s, new wave, Brian Eno, Trip Hop…

4. What do you feel are the key elements in your music that should resonate with listeners, and how would you personally describe your sound?

EDE: Our music is personal, it connects to the deepest part of the self. We have tried to develop techniques that are almost visceral, which try to provoke a mental and physical reaction. Mostly it is research, but aimed at creating emotions.

5. For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you? How would you describe your own development as an artist and music maker, and the transition towards your own style, which is known as POP?

EDE: I wouldn’t talk about emulation, but about influences and being guided by the emotions that other artists and genres have aroused in me. It is undeniable that it is now almost impossible to invent new genres and new sounds, but surely you can find other ways, other ways to arouse a reaction in those who listen to your songs.

6. What’s your view on the role and function of music as political, cultural, spiritual, and/or social vehicles – and do you try and affront any of these themes in your work, or are you purely interested in music as an expression of technical artistry, personal narrative, and entertainment?

EDE: Music has always been a vehicle of awareness and a key to understanding society. I don’t think we can divide art by artist, on the contrary, I’m often fascinated by an artist on the basis of her values.

7. Do you feel that your music is giving you back just as much fulfillment as the amount of work you are putting into it or are you expecting something more, or different in the future?

EDE: It is a process of growth, in the sense that there is always a feeling of satisfaction at the end of a job, especially if you evaluate it as good. But one always hopes to get something more, to be recognized and appreciated. But the satisfaction is there, always.

8. Could you describe your creative processes? How do usually start, and go about shaping ideas into a completed song? Do you usually start with a tune, a beat, or a narrative in your head? And do you collaborate with others in this process?

EDE: When it comes to “Red Leaves” we adopted a new “line of work”. Together with BB, the performer, lyricist and the actress that appears in the video, we have creates a sort of exercise in style. We both love photography, so we start from a photo that she captures in a particular moment in time. From that picture, I create the music, and from the music, she writes the lyrics, then we record the song and film the video together. It’s kind of a way to both be inspired and an inspiration to each other. The final idea is to create a concept album, where all the songs together can create a narrative about our inner thoughts and perception.

9. What would you consider a successful, proud or significant point in your life or music career so far?

EDE: During my career, I worked with a lot of artists, well-known and not. there were good times, there were bad times. In the end, I find the peace to keep composing and telling my truth, without compromising my view and my music. I think this is the best accomplishment.

10. With social media having a heavy impact on our lives and the music business in general, how do you handle criticism, haters, and/or naysayers in general? Is it something you pay attention to, or simply ignore?

EDE: Our music Is not for everybody, and that’s something I’m actually quite proud of. I like to think that who actually understands and like my music is someone I could have a deep meaningful conversation with. So, criticism is just noise. We have to rise above.

11. Creative work in a studio or home environment, or interaction with a live audience? Which of these two options excites you most, and why?

EDE: My studio is like a sanctuary, where I can compose and perform in complete peace. I have decades-long experience with live performances, but right now I definitely prefer my studio. It’s a question that makes me smile because it’s the only point where BB, my partner in the project, and I differ. While I try to convey a clear and precise message, which is understood (by those who are able to do it), she trusts the judgment of the listener, his perception and understanding of the text and the music.

12. Do you think is it important for fans of your music to understand the real story and message driving each of your songs, or do you think everyone should be free to interpret your songs in their own personal way?

EDE: It’s a question that makes me smile because it’s the only point where bb, my partner in the project, and I differ. While I try to convey a clear and precise message, which is understood (by those who are able to do it), she trusts the judgment of the listener, his perception and understanding of the text and the music.