The Time and Headspace of Random Clockwork


Glitched Up, Stitched Up and Energised to Tantalise

When we first got a glimpse of Italian Electro-Rock propagators - Random Clockwork - on social media, we knew we had to reach out. There they were, donning flawlessly-constructed Wintercroft Low Poly Masks, looking like aural assassins of the old guard. The stark, handsome glitz of their attire garnished the shiny, beastly facades perfectly and we imagined the sounds that would come out of this band would be as striking as their look. Our intuition proved to be correct…

The stylistic mishmash of Random Clockwork’s music makes for a 21st century lesson in keeping current with electrical current. Voltage pulses propel polymorphic tracks into the future with dynamic ebb, flow and future-groove. Undulating wobbles give way to tectonic tonal implosions, blowing shifting textures and atmospheres wide open as elements of House, Glitch, Industrial and Trip-Hop intermingle. The elemental electrical storm that ensues is bewildering and thrilling to behold. Let us see what is behind the face-plate of Random Clockwork and perhaps work out what makes it tick...

Fletch: Thanks for the time and the tones. Let’s perhaps start with the initial pulse. Am I right in thinking that the name Random Clockwork comes from the synchronisation of the synth and rhythm sequencers that drive the foundation of the tracks? I suppose this could be an analogy to the human synchronisation that occurs within a great band?

RCW: Thank you Fletch for your words and interest in us. Yes, you’re right, but we can extend the discussion. If you think about it, everything is synced. Atoms, natural processes, planets and people. This is in some unreadable and apparently randomised way, with different tempos that are simultaneously in poly-rhythm, but always synchronised. All this works within the strange and amazing mechanism we call life.

Fletch: In the bio that you sent me, you state that your unique sound comes (in part) from a certain “90's alternative attitude.” Was this the era of your formative teen years? As an American teen of that time, I heard mostly guitar music (Grunge) and Hip-Hop. I was more into Industrial acts at that time such as Ministry, Skinny Puppy, Killing Joke, Thrill Kill Kult, etc. I would’ve guessed more of these reference points, though I would never try to pin down your unique sound of course.

RCW: Yes, we were teenagers in 90’s. In that awesome period when Grunge was shocking our lives, some artists started to augment the Alternative Rock with electronic elements, stepping outside the sonic range of a rock band (while still keeping the attitude) and open to the possibility of giving a hybrid sound to any song. This is what we love to do. However, our reference points are many as our five minds can swing easily from Nine Inch Nails to Madonna, from Tool to Elvis, and from Prodigy to Michael Jackson... 

Fletch: Your music has so many organic and mechanic components. Is there a reoccurring method to building your tracks? Does it all start with a sequence as a foundation? I imagine with all the programmed and meticulously composed elements, it would be hard to get in a room and simply jam out with the full ensemble.

RCW: It all starts with the concept. No notes or sound shape. Just the title. We plot the coordinates of the suggestions that we want to evoke and only after that do we start to compose. This is kind of like an original soundtrack.

Fletch: You also mentioned processed bass and guitar parts – are you using guitar synthesisers? Do the instruments run through pedals or plugins live?

RCW: Absolutely. Guitar and Bass are processed by virtual effects and midi controllers like the Misa Tribass. All of these unite to a sequencer and synthesizer to give us an infinite sound range and different ways to play our instruments. We really enjoy it.

Fletch: Let’s talk about the visual element of the band. How did you discover Wintercroft Masks? Of course the animalistic and technological aesthetic matches the duality of your music - was this your thought process behind incorporating them into your vision?

RCW: It was love at first sight when we discovered Wintercroft Masks on Facebook. You’re absolutely right when you say that the animalistic and low poly style matches exactly with our analogue (our human component) and digital music, with our topics and our sound. And the audience feel it every time. Wearing the masks also helps us to reach a particular mood… depersonalised. We’re totally in love with Wintercroft style.

Fletch: Finally, what is in the future for RCW? Any upcoming tours or releases you can reveal? We look forward to hearing and seeing more…

RCW: We’re going to release our debut album this spring and we can’t wait to share it with you all. - Valerio

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To explore more of the organic mechanics of Random Clockwork follow the links below:

Amazing photos by: Riccardo Lancia

Follow the link below for another cutting edge musician interview:

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