| an
invocation of the sensually gothic |
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The Divine Madness
Q&A
with singer
Victoria Mazze |
| Singer / songwriter / composer
Victoria Mazze brings
her love for all things
dark and elegant to
an ambitious and enchanting
rock band. |
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Victoria
Mazze began playing piano
at the age of seven, but
her decision to make a
life in music was slow
in coming, though her
natural talent would seem
to have made it an easy
and obvious choice. After
leaving high school behind,
during which she determinedly
expressed her love of
creative eccentricity
through music and fashion,
she attended BYU and graduated
with a Bachelor's in Music
Media and Sound Engineering.
Her childhood was an unusual
one for a girl who would
become such a glowing
example of the most elegant
and classically influenced
artists in gothic music,
growing up in a secluded
desert compound in the
vicinity of the infamous
Area 51 with only her
siblings as companions.
Her earliest exposure
to popular music was through
singer-songwriters like
Simon and Garfunkel and
Sarah McLachlan, with
a dose of bands like Depeche
Mode.
With experience as a model
and a film composer in
the recent past, her current
focus and passion is for
the success of The Divine
Madness, an ambitious
musical project that Victoria
describes as Gothic with
added influences from
the music of the 80's,
most notably Berlin and
vocalist Terri Nunn. |
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Victoria
Mazze and The Divine Madness |
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Q
and A times 10 with
Victoria Mazze |
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DR:
How did you come
to create a double
concept album?
Victoria
Mazze: Our Secrets
double album is
the unleashing of
years of longing,
frustration, desire,
passion, loneliness
and love. It is
as if, like star-crossed
lovers, every moment
before was just
waiting; waiting
to mean something
and create something
that would last.
And, naturally,
a massive undertaking
began.
I remember when
we were mixing the
songs for the album;
there were so many
of them, it was
very intimidating
even to ourselves.
But some things
just make sense
no matter how impossible.
The naming of the
two discs, (Paradiso
and Inferno),
stand for the dichotomy
in our band stylistically
as well as within
us.
How
does the live show
differ from the
CD?
VM: The show
is a chance for
everyone in the
band to show off
their chops. Combine
Canos solid
drumming, Chris
Rides keys
at the speed of
light, Monis
command of a stage,
and Mike Crawford's
grooves, and youve
got quite a show.
There is also such
a strong bond between
us that I think
comes across in
the performances.
And, similar to
the album, our shows
have a lot of variety;
we move seamlessly
from Crawl
to Redemption,
that flexibility
that is very rare.
Is
fashion and presentation
equally important
to all of you?
VM: (smile)
Well, the music
is first and foremost
but from there we
create a world that
showcases who we
are. But there is
another way to look
at it; visuals are
an art form all
their own; there
is meaning hidden
behind the surface.
That, I think, is
why we love to make
videos and have
built a reputation
for being so visual.
For The Rapture
album we are working
with an artist that
we love and respect,
Davey Jones. He
is creating art
pieces that are
inspirited by the
music; they will
be magnificent.
I am very excited
to see where he
takes it.
Have you ever been
a solo performer?
VM: Strangely,
not really. I was
and still am a film
composer, but it
can get very lonely;
I guess I just like
collaboration too
much. To work with
other artists that
take you and your
abilities to another
level is the real
joy of what we do. |
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"some
things just make
sense, no matter
how impossible" |
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Who
are your historical
muses?
VM: Queen
Elizabeth, Thomas
Edison, Ludwig van
Beethoven, Edgar
Allan Poe, Julius
Caesar, Emily Bronte,
Sylvia Plath, Socrates,
Ben Franklin, William
Shakespeare, Hildegard
of Bingen, and too
many to count.
Which contemporary
songwriters inspire
you?
VM: Not many.
I mean, there are
a lot of contemporary
artists whose CD
I will buy and have
it playing while
I am eating dinner
and such. Have you
ever tried to eat
while playing The
Doors? It just doesnt
work; the walls
start coming alive,
your heart starts
racing, and you
feel at any moment
you will no longer
have control of
your body as it
separates in all
directions. I guess
there are many that
I respect but few
that can possess
me.
Which songs on the
albums excite you
the most, and why?
VM: I love
how out there
many of the songs
are; for example,
having a harpsichord
or an autoharp as
the grounding instrument
in a rock song is
kryptonite to the
industry
folk. But we did
so in Secrets
and Blessed."
I really like the
fact that we dont
know any better.
I keep telling myself,
ok, we have to make
this song tangible
to listeners that
arent musicians
and are used to
what is on the radio,
but we cant.
It
might be insanity,
perhaps arrogance,
naiveté,
or maybe just a
combination of all
of the above. I
cant tell
you how many times
we have heard, You
are not radio friendly."
I guess thats
a bad thing. We
are however imagination
friendly; the Anti-Christ
of the industry
has arrived!
Who
are your favorite
classic composers?
poets?
VM: Claude
Debussy, Sergey
Prokofiev, Dmitri
Shostakovich, Arnold
Schoenberg, Franz
Liszt, Rachel Portman,
Danny Elfman, David
Bowie, Grimm Brothers
Fairy Tales, Emily
Dickinson, T.S.
Eliot, Henrik Ibsen,
George Bernard Shaw,
Bram Stoker, and
Mary Shelley.
Have
you opened for any
well-known bands
yet?
VM: Not yet,
but it might be
fun; we almost opened
for Berlin, which
would have been
awesome because
we have so much
in common. Give
us a few months.
Are
you sponsored by
anyone?
VM: Nope,
just the best fans
in the world.. |
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Victoria
Mazze with bassist Michael
Crawford |
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