In Conversation with Shapednoise

Nino Pedone, the artist better known as Shapednoise, is a Berlin-based Italian producer whose sound design blends moments of beauty with piercing shrieks. At this year’s Berlin Atonal, taking place from 7-17 September, Shapednoise will present his latest ear-bending sonic experimentation “Absurd Matter” that spirals  around the two poles of extreme noise and hip-hop.

The album features guest spots from NY rap duo Armand Hammer, techno-rap trailblazer French producer Brodinski, David Lynch-collaborator Dean Hurley, vanguard Philly poet, musician, and activist Moor Mother, and Bruiser Brigade’s ZelooperZ. On the occasion of Berlin Atonal, the show will be accompanied by a collaboration with visual artist Sevi Iko Dømochevsky in which the artist will showcase a delirious and nightmarish experimental CGI adventure.

Ahead of his performance at Berlin Atonal 2023, we speak to Shapednoise about how he found his sound, how Berlin and Italy influence his sound and the concept behind his latest release.

SLEEK: Let’s start at the beginning. How did you find your way to music – specifically noise and hip hop?

Shapednoise: When I was a teenager, around the age of 16, I used to hang out with my cousin in Sicily and he introduced me to a more avant-garde side of music – John Cage is one that comes to mind specifically. I quickly began to listen to more experimental and electronic music, before getting really into noise. An artist that played a part in my introduction to computer music was Massimo, an artist from Sicily who would release music on a label that was called Mego at the time in the early 2000s. This electronic music scene, and the artists within it, was my introduction to experimental and noise genres.

Hip-hop, on the other hand, is a genre I’ve always listened to. Growing up in Sicily, my friends and I were pretty into classic rap. For me, I find the genre so interesting. It incorporates so many different influences, and subgenres. It’s always very open to contamination and experimentation.

S: You were born in Italy but are now based here in Berlin. How has Berlin influenced your sound?

SN: I have to say most of the sounds that influence my work come from the UK and U.S. But, I think that here in Berlin, there is the possibility to interact with people around the world. And different artists come here to play shows or they’re based here. Here there is, of course, a lot of electronic music culture – and a lot of culture from music generally. It’s something that stimulates your mind in being creative. For artists, they like to stay here because there is a lot of impulse that you get from this city and there’s always a lot going on.

S: It’s been described that your approach to sound design is similar to the way a sculptor might treat a stone. What’s your process, how do you get to a final and finished piece of sound?

SN: It’s never the same process. Usually I always start from specific sounds, different sound sources. They can come from field recordings, a sample of a drum machine or a synthesiser, analog, modular or digital. So, I like to experiment with different sound sources and not stick to one thing.

I work in a way that I do different processing. And I also do a lot of resampling. For example, I like to start with a source like a MIDI source or audio source. I always tend to record everything in audio generally, because then it gives me the possibility of manipulating the sounds in a more free way. Sometimes, I have a source that I always sample in Ableton and then do some audio manipulation and other resampling. So, it’s a process that includes manipulating sound sources generally.

That’s why to me it’s like sculpting because I tend to start from some source that will be completely changed. In the final result, it will sound completely different than what it used to be and what it used to be for.

S: Absurd Matter is your most comprehensive and ambitious body of work to date. What was the initial concept?

SN: Absurd Matter is more an evolution of my previous release, Aesthesis. I think that the difference was that in this record, I wanted to have a more direct approach. Even in the arrangement and composition, the tracks are less chaotic and have a more impactful structure. Then of course I wanted to involve different artists working with me MCs and producers.

S: And it’s filled with collaboration – from French producer Brodinsk to activist Moor Mother to David Lynch-collaborator Dean Hurley. How did you choose who you wanted to work with on this?

SN: Most of the time, it’s coming in a natural way. Dean Hurley, for example, really liked my previous album, and so we have been in touch to speak about making music together and exchange ideas. With Moor Mother, we’ve known each other for a few years, and of course, we have different collaborators and friends we work with in common, like Justin Broadrick and The Bug.

S: At Berlin Atonal, you’ll be showcasing a mind-bending CGI visual display in collaboration with visual artist Sevi Iko Dømochevsky. How do you hope this will elevate the experience of Absurd Matter?

SN: What we are looking for is to create a unique show and give an expansive experience of what the record is already. And we want to do this through the visuals including the lighting and stage designs.

S: Berlin Atonal seeks to challenge the exhibition format through a reconsideration of the model itself – for both viewer and artist. How does this element of experimentation elevate your practice?

SN: It’s interesting the way Berlin Atonal is connecting music with other art forms such as visual installations. I think the programming this year is much more extensive because of the exhibition week “Universal Metabolism” combined live shows and concerts at night. This is very interesting for me, especially for the kind of music I’m making. I always like to interact with different media and not be too stuck to music.