to GIUSEPPE VERTICCHIO/NIMH, by Stéphane Froidcoeur.
Published on Side Line Magazine, May 2019.
Giuseppe Verticchio is an Italian artist, which is mainly active
under the Nimh moniker since 2001.
He released numerous works and collaborative productions on different
recognized labels. His work is mainly dealing with darker music
influences such as ambient, industrial, ritual and related genres.
Quite recently Winter-Light Records has re-released the CD-album
“Beyond the Crying Era”, which was originally released
in 2012 on vinyl format by Synästhesie Schallplatten. “Beyond
the Crying Era” features the six original tracks from “This
Crying Era” (original title of the album) plus four extra
songs. The work is a fascinating sonic voyage throughout dark
sonic realms, which incited me to get in touch with the protagonist
of this great work.
(Courtesy by Inferno Sound Diaries)
you’re now involved with music for numerous years and have
released an impressive number of productions (solo-work and collaborations)
while experimented with multiple music genres. What have been
the main facts and releases from this prolific career and where
does this eclecticism comes from?
GIUSEPPE: For me
it’s quite difficult to identify specific “main”
events and/or releases in my career, because in some peculiar
way each of them is a sort of “building block” in
my ever-growing “wall” of musical activities/productions.
Anyway, thinking about it a little more deeply, I can mention
something… My first two “real” glass mastered
CDs released by Amplexus in 2004 (“The Impossible Days”
and “Whispers from the Ashes” with Nefelheim); the
extremely gratifying collaborations with Maurizio Bianchi/M.B.
in 2005 (“Together’s Symphony”, a 4 CDs box
set) and with Pierpaolo Zoppo/Mauthausen Orchestra in 2009 (“From
Unhealthy Places”); the first meeting with Andrea Marutti/Amon
in 2003 (nowadays he is still a very good friend of mine) and
the subsequent collaborative CDs published as “Hall of Mirrors”
(“Reflections on Black”, “Forgotten Realm”,
“Altered Nights” and the recent “When Only Shades
Remain”); my many travels in Thailand (since 1987) and the
resulting love for Oriental music/instruments/culture that has
“marked” a large part of my musical production and
CDs (“Travel Diary”, “The Missing Tapes”,
“Krungthep Archives”, “Circles of the Vain Prayers”…);
my first (and still only one) LP “This Crying Era”
published as a vinyl release in 2012 by Synästhesie Schallplatten,
that was recently re-released on CD (thanks to Mark O’Shea
of the Winter Light label) in a new enriched and remastered version.
I also have to mention the long-time friendship with Davide Del
Col/Antikatechon and his inspiring collaboration (“Out Hunting
for Teeth”, and “Nothing is as It Seems” as
“We Promise to Betray”) and with Philippe Blache/Day
Before Us (“Under Mournful Horizons”).
Last but not least I’d like to mention the nice experience
of the two CDs published as “Twist of Fate” with my
wife Daniela Gherardi (“Tales from a Parallel Universe”
and “September Winds”)… She has always been
by my side since 1982, but the idea of trying to “seriously”
compose, play and record some music together didn’t struck
us until 2014.
Probably my “eclecticism” simply comes from the influence
that all the music I listened and loved has had on me in 54 years,
and also from my “natural disposition” to always search
for something “special”, both in the music that I
listen and in the music that I personally create.
I think to might affirm Nimh remained your main project. What
makes it different from your other projects and how do you see
the evolution of Nimh over the years, which is probably linked
to your own evolution as artist?
Yes, Nimh is my main project, although during the recent years
I often focused my activity on more “musical” and
less “dark/experimental” sounds and atmospheres, giving
birth to the aforementioned new collaborative projects “Twist
of Fate” and “We Promise to Betray”.
Probably in the future some specific Nimh releases will also become
more “musical” and less “dark/experimental”,
but for the time being this is still the main difference between
my main project and the others.
The evolution of Nimh over the years is strictly linked with my
everyday life, and with the many changes in everything that happened
around me… I began to make and record electronic music with
a Desktop PC equipped with a 80386 processor and a MS DOS 4.1
Operating System. It featured only midi facilities… no Hard
Disk recording… no MP3 files… no Internet… no
samples… no Amazon or any other online shop to buy stuff
(acoustic, electronic and ethnic instruments, or other equipment),
neither YouTube to find/see/listen/evaluate/download almost anything…
It was definitely another era, another world… and my music
still changes with the changing of times.
Winter-Light has just released the CD-album “Beyond The
Crying Era”, which is an extended version of the album “The
Crying Era” originally released on vinyl by Synästhesie
Schallplatten. The album features a fine selection of songs that
got originally released on collaborative albums and compilations.
How did this new edition saw the daylight and what do the selected
songs mean to you?
When in 2012 Matèo Montero (the guy behind Synästhesie
Schallplatten) proposed to me a vinyl release, I decided to put
together and publish some old (and good, in my opinion) tracks
that, for different reasons, were left “scattered”
among compilations, net releases and split CDs, and still not
gathered in an “organic” and “physical”
way. But a vinyl record can’t hold the same amount of music
as a CD, so I was “forced” to leave out or shorten
some of the tracks. I also have to note that the LP was pressed
in a limited edition of 100 copies only, and that - to be completely
honest - I’m not the greatest “lover” of music
on vinyl: when I was younger I used to “suffer” quite
a lot listening to records full of tedious noises, “clicks”
and crackles... So, after some years, I decided to rework the
album for the CD format using solely the original full-lenght
versions, adding some missing tracks, making additional edits
and completely remastering the album to get the best possible
The ten tracks included in this new CD edition, released as “Beyond
the Crying Era”, are a meaningful “journey”
through more than ten years of musical activity and research in
dark/experimental “territories”, and I’m very
grateful to Mark for having accepted to publish it with incomparable
The songs have been remastered and that’s an interesting
item as most of the re-edited albums get remastered. Why is that
important and does it mean you were not satisfied with the original
mastering? Or do you think a production is never finished and
can be always improved?
Theoretically (but also as a matter of fact, actually...) even
the addition of a single new track in an existing tracklist generates
the need to re-evaluate and readjust the entire mastering work.
In my opinion, it is mandatory to check again the audio levels,
the volume peaks, the compression parameters, the timbric and
dynamic uniformity, the pauses between tracks and - in the end
- the “pleasantness” of the complete listening experience
of the album in its new defined “flow”. Having said
that, I guess you have a picture of what it means, on the technical
side, to insert four new tracks in an old tracklist, also changing
the sequence of the existing tracks to obtain the best final result,
using only the original “uncut” versions.
The new structure of the album simply turned out to be something
completely different from the first incarnation, so a careful
remastering work was absolutely necessary. I also have to add
that the original master was made for a vinyl edition, with its
specific technical needs and intrinsic limitations that are not
necessary and binding in a master for CD production.
The influences running through your music are multiple, but globally
speaking the music remains ‘dark’-minded. What fascinates
you in this dark-artistic exposure and do you have favorite themes
and/or sources of inspiration?
Yes, most of my music is characterized (although in different
ways) by “dark” sounds, “suggestions”
and atmospheres. But there’s no premeditation in this, it
is not intentional and deliberately “planned” or “designed”.
Probably I’m often instinctively attracted to this kind
of sonorities... But sometimes I am intrigued by “brighter”
sounds and atmospheres too, and that is clearly perceptible in
some CDs/projects (“Twist of Fate” and “We Promise
to Betray” above all). I think it just depends on my mood
and different situations. I have no “rules” or a “public
face” to “build” and promote. I don’t
have well-defined favourite themes or “special” sources
of inspiration... Anything in my everyday life can touch and inspire
me, thus influencing my musical experiences.
I noticed Nimh has no Facebook-page. What’s your perception
about social media, streaming platforms ect and their importance/impact
for artists, labels, promoters and music lovers?
I am well aware of the importance and usefulness that social media
as Facebook and other web platforms have for “common”
people, artists, labels, promoters, music lovers, etc.
I evaluated the option to open a personal Facebook page many times,
mainly to “support” the Nimh project and to promote
my music on the web in a better way. To be honest, I don’t
have much spare time to spend on “social” activities,
and I don’t really like Facebook a lot as a platform (here
I speak both as a common “potential user” and as a
software developer, which has been my main profession for many
years), so I kept putting it off.
I don’t want to speak ill about it, and of course I know
that my choice of not having a Facebook account (until now) may
be seen as a little bit “anachronistic”... Simply,
it is not my cup of tea for many reasons (technical matters, the
company’s policy, censorship issues, data management...)
so for the time being you still won’t find an official Nimh
(or Giuseppe Verticchio) page on Facebook.
Anyway, my personal website is online since more than fifteen
years and my e-mail address is public. Anyone wishing to contact
me or needing information about my music can easily google my
real name and the Nimh monicker to find lots of results... So,
I would say that I’m not absolutely “disconnected”
from the World Wide Web.
Talking about streaming platforms as YouTube, Bandcamp and others,
generally I’m completely in favour of them: I often use
them to discover new music, to check audio previews of CDs that
I would like to buy, or to listen to music that is both good and
I don’t believe that streaming platforms and file sharing
practices can heavily damage labels and artists that still invest
in the production of CDs and other physical releases. I’m
quite sure that real music lovers (as I am...) will always purchase
an original CD even if - or exactly because - they already have
downloaded, listened and strongly appreciated an album in its
digital form. People who occasionally download music or, on the
contrary, have an habit of downloading albums in a continuous,
almost “compulsive” and “pseudo randomic”
way, probably would never spend money to buy a physical release