Onasander interview: ‘I really don’t like working on commission’
Onasander
Maurizio Landini has released a remarkable number of productions under the pseudonym Onasander in a relatively short span of time. Many of these albums were collaborations with artists such as Kloob, Ajna, Empusae, Alphaxone, Nimh, and several others. This year saw the release of “Dawn Metrics”, a true solo album released by the renowned label Winter-Light. Born in the borderlands between Dark-Ambient, and Cinematic soundscapes, “Dawn Metrics” stands as a symbol of brooding, immersive exploration—an intricate study of sonic geometry and existential reflection. With this latest release, the project continues to refine its unique aesthetic, fusing cold textures with Ritualistic rhythms and a deeply contemplative atmosphere. This album further confirms the remarkable skill of an artist I consider one of the most compelling newcomers in his genre in recent years. (Courtesy by Inferno Sound Diaries)
Q: Releasing a solo album seems like a rare move for you, given that most of your work involves collaborations. What is it about collaboration that excites you?
Maurizio: Collaborating with other artists gives me the opportunity to learn a lot from them, to hear my sounds in a different context where I don’t have full control over my vision.
Q: Your music often revolves around strong conceptual themes. How do you typically develop these themes into a full album? And can you elaborate on the concept behind “Dawn Metrics”?
Maurizio: Onasander’s themes derive from philosophical concepts generally related to extinction, the void, and space, or from past narrative experiences, as in the case of “Dawn Metrics,” which is inspired by an unpublished military science fiction story I wrote in 2011.
Q: How do you see “Dawn Metrics” evolving from your previous works in terms of composition and production?
Maurizio: Onasander’s sonic evolution is essentially based on the use and mastery of new synthesizers. The biggest difficulties I encounter are related to the integration between software and hardware instrumentation.
Q: What materials, tools, techniques, and effects did you use in “Dawn Metrics”? Over the years, have you developed a distinct working method or signature approach that defines your sound?
Maurizio: As mentioned above, I use hardware and software musical instruments: essentially ASM Hydrasynth, KORG Modwave, WALDORF Iridium, and Softube effects on the Ableton DAW. Over the years, my sound has changed a lot: from an initial Cinematic approach to the Dark/Space-Ambient of now, influenced by musicians I love very much, such as Collapsar, Alphaxone, and the projects of the Exosphere label.
Q: Your music, whether solo or collaborative, has a strong Cinematic sound. Have you ever considered composing a full film Soundtrack? What would that mean to you? And if you could score any film, book, painting, or other artistic work, which would you choose?
Maurizio: I had an experience of this kind, and it was a complete failure. I don’t like working on commission at all. I’m not a musician but a person who expresses themselves through sounds, which is quite different.
Q: Earlier this year, you also released “Unveiled Lights”, a collaboration with your fellow countryman Nimh. What is the thematic and musical direction of that release? And what else can we expect from you artistically in the near future?
Maurizio: Giuseppe (Nimh) is a great Ambient musician, one of the greatest. We created compositions together, trying to maintain both our styles. I can say that the theme is light in many of its facets. For the future, there will be a sequel to “Dawn Metrics” and several records in production. Thank you for this interview!
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