Italian producer and composer Monobjo (Valerio Silvestri) skillfully combines electronic and classical music genres. He was born in Rome and began his musical career at the age of eleven, learning the piano, which laid the foundation for his extensive range of musical abilities. Check out the exclusive interview below:
1. Can you tell us a bit about where you come from and how it all got started?
MONOBJO: I started my music career playing electric bass and keyboard in various Rock bands: Montmartre, Ardesia, Monoma and Morgana’s Kiss. I spent years touring Italy with Monoma and then decided to start a solo career. At first, I had decided to work only on film soundtracks, but I met theater and started composing music for theatrical shows. From there, the step was short to arrive at today where I conceived TAROT which is nothing but the soundtrack of a dance show.
2. Did you have any formal training or are you self-taught?
MONOBJO: I studied piano for 4 years as a teenager, and then I was self-taught with the guitar and electric bass.
3. Who were your first and strongest musical influences and why the name ‘MONOBJO?
MONOBJO: During my youth, I listened to a wide range of music, from Bowie to Peter Gabriel, from Pearl Jam to Radiohead. I also had a great appreciation for film scores, with Ennio Morricone and John Williams being among my favorites. The album that truly captivated and moved me was Peter Gabriel’s ‘Passion,’ which serves as the soundtrack for Martin Scorsese’s film ‘The Last Temptation of Christ.’ As for my stage name, I was fascinated by the meaning of ‘monobio,’ which refers to animals that spend their entire lives in one environment. I changed the ‘i’ to ‘j’ as a tribute to another artist I love, Bjork.
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?
MONOBJO: I’ve always believed that one of the key elements of my music writing style is the pursuit of melody juxtaposed with a certain repetitiveness of notes. I enjoy constructing loops that change in chord progression and atmosphere. I’m consistently drawn to a continuous sound that evolves over time. Composition is my primary focus, with sound being something I progressively modify and change over time.
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?
MONOBJO: Like many youngsters, I started out playing songs by other artists on the guitar or piano, but what intrigued me the most from the start was the musical construction of complex pieces like “Firth of Fifth” by Genesis, and how the tracks on each album were melded into a cohesive central discourse. Concept albums and storytelling through music ignited in me the desire to create a personal style based on musical narration.
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?
MONOBJO: In my artistic vision, cultural and spiritual dialogue is fundamental. Music goes beyond mere entertainment or a message of pure amusement; true pleasure lies in nourishing oneself with an art that transcends conventions. Anyone content with banal lyrics about money, success, and superficial relationships is diminishing the role of music in their life. Songs must have depth, even when conceived to be danced to or to instill joy. As for spirituality, it has become a banner for me, a defining element. For some years now, the themes of my compositions have predominantly been spiritual.
7. 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?
MONOBJO: Of course it’s important. Regarding the point I was making earlier, you can also listen to my songs lightly, as background to your days, but you do so knowing that when the moment comes to pause and your listening becomes more attentive, you will find important messages, messages that represent profound steps in everyone’s life. And my goal is to be able to communicate all this without the use of lyrics. Only with the assistance of sound and melody.
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?
MONOBJO: My creative process varies from song to song. Typically, I start with a musical idea or an emotion I want to express. I might begin with a piano motif, an electronic loop, or a melodic phrase. However, for TAROT, the approach was different: I carefully studied each Major Arcana and its kabbalistic attributions for a long time. Let’s take the Emperor card as an example. It represents the zodiac sign of Aries, thus containing the energy of Mars in its most aggressive form. It’s a card of red color and musically represents a triumphant march. Drawing from all this information, which I meditated on extensively, I created the piece.
9. Creative work in a studio or home environment, or interaction with a live audience? Which of these two options excites you most, and why?
MONOBJO: I love creating in the studio. Despite having played for years around Italy and enjoying the adrenaline of concerts, I find that performing live (excuse the expression) is more akin to ‘acting out the same part every time.’ While concerts may boost the ego, they don’t fulfill my deep desire to constantly create and experiment.
10. What would you consider a successful, proud or significant point in your life or music career so far?
MONOBJO: I believe it holds true for all that understanding of one’s project by as many people as possible is the greatest satisfaction for an artist. Provided that the artist has expressed their art genuinely and not forced by market laws. For me, it would be very important for TAROT to be listened to and understood by the general public. I hope that the dance performance featuring the music of TAROT, which I am preparing with the “HELIOPOLIS DANCERS” company, will be seen by a vast number of people and perceived as an educational journey. A formative journey representing the fundamental steps in a person’s life.
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