James Porazzo (New Resistance): Thank you for the interview. We’re not ashamed to admit that TSIDMZ are our favorite current music project here at Open Revolt. Sol please tell us, first, the story and meaning behind the name TSIDMZ?

Sol Mutti: Hi James, thanks so much for your support.

TSIDMZ is an Italian post-atomic/electro-martial project with numerous influences from various genres within the field of Electronic Music. It was born and conceived between 2002 and 2007 (the year when it was first produced). Its purpose is to be as eclectic as possible while remaining faithful to its aim. For this reason TSIDMZ has always been involved in collaborations with other musicians, including appearances and track collaborations etc and will always continue along this working template.

TSIDMZ stands for THULESEHNSUCHT IN DER MASCHINENZEIT, that is to say sehnsucht (nostalgia) for Thule in Machine Times. Thule is a “primordial space”, a physical place probably, but a metaphysical one undoubtedly. According to the Indo-European mythology, peoples who once inhabited the lands of Eurasia were descended from Thule. Very briefly and roughly speaking, we can say that Thule is the equivalent of the biblical Eden. It is the place of the original “perfection”, the place of the ancestors and heroes who lived close to the divine. Moreover, Thule is also the place where men that change or direct the course of History come cyclically from and ultimately the place to where they return.

TSIDMZ expresses exactly this sort of nostalgia both from a pessimistic point of view, meaning ‘absence’, and from a constructive point of view, meaning a new accomplishment. This new accomplishment has then to be fulfilled in our times, “In Der Maschinenzeit”. Is it possible to realize a fair, sublime, “spiritual” society in the post-atomic era? According to TSIDMZ, some possible answers are to be found in the Futurism on an artistic and cultural level, while in Socialism, on a political and social level. As a consequence, electronic music and every form of “industrial” art becomes imperative. As far as the social and the political levels are concerned, this New Man has to be a master of the machine, and not a slave or a victim to it or of it anymore. Likewise, on a cultural level the New Man needs to integrate and identify with the machine, which has to become part of this new Culture. As a result, this will create an artistic identification, which will give a new identity appropriate to the Worker, as Jünger understood it.

TSIDMZ has collaborated with such diverse artists as: Gnomonclast, Horologium, Rose Rovine e Amanti, [dystopia], Narog, Lonsai Maikov, Heiliges Licht, Sala Delle Colonne, Embersreich, Kenji Siratori, DBPIT, Escuadron De La Muerte, Marco Grosso (Ouroboros, Snowfade, Perfamfrost), Barbarossa Umtrunk, Front Sonore, Striider, BloodSoil, Legionarii, Dental Work, Redsk, Deadskin, One Dead Fuck, Foresta Di ferro and many more… The Roman performer Nausicaa, aka Cheri Roi, plays an important role in this project too.

Until now, TSIDMZ has signed with labels like: Old Europa Café, Ufa muzak, SkullLine, Species Prod., Placenta Recordings and many more.

JP: Can you give us a brief history of TSIDMZ? Also are you experienced in previous or currently involved with other music efforts?

SM: TSIDMZ was born after several solo projects which were never officially released. The last one before TSIDMZ was Thulesehnsucht (an electro-experimental project); it was the most significant because with this project I released a track for an italian compilation, a live supporting the italian gig of Dies Natalis and first of all because from this name I started thinking how to find a good name that could explain in the best way all my goals and my life experiences.

So TSIDMZ came to be after several attempts and several tests.

From more than 10 years I also have been a dj under the name Tetsuo (aka Uomo D’Acciaio); playing as dj (in radios and clubs) has helped me too much in discovering many kind of music in the electronic world, and these discoveries influenced greatly my musical composition. In effect TSIDMZ is full of influences from many kind of music. My pride is that TSIDMZ is inspired by many styles, and this makes my sound rich and original…

JP:Any great music influences you care to note? Lyrical influences?

SM: As I told you before, playing as dj and listening to a lot of music since I was a child helped me too much in inspirations and musical compositions. My first listening was classical music (old vinyls of my father) and folk music, especially from east Europe (always because of my father). Then when I was 10, 11 years old I started listening to some electronic stuff from ’80s dance, to kraftwerk and some historical artists such as Led Zeppelin, Pink Floyd or Ozzy Osbourne; finally when I was 13, 14 years old I discovered Marilyn Manson through an Italian local musical-tv. From this artist I started discovering industrial music, experimental music, futuristic music and later Black Metal music. From black metal started my world into ambient, neofolk and industrial music (expecially because of Burzum’s ambient cds, Mortiis’s stuff and Aborym’s musical attitude). From Marilyn Manson to Buruzm to the neofolk/martial/experimental music (as Death In June, or Arditi or Von Thronstahl etc or futurist artists as the italian Marinetti) to electro/EBM scene, I took a lot of influences both in music and about themes.

TSIDMZ is more than these artists… In music I don’t speak only about sufferings of the modern world, or critiques to the modern world or the loss of values; TSIDMZ would like to give an answer, a solution, not only a critique, but also a hope. I believe in God, in a superior, eternal, infinite mind, from which everything derives, so it’s indispensable believing that the world is under a superior will that will give an appropriate solution to all “problems”.

JP: The Eurasian star is prominent on many of your graphics, and you’re also the son of a legendary Italian revolutionary figure Claudio Mutti – who we’ve featured often here on Open Revolt. How has the reaction to this side of TSIDMZ been? Does Claudio enjoy TSIDMZ’s work? How would you describe your political position?

SM: Yes, my father had a very deep influence on my mentality and my themes and, as you said, Eurasianism is really prominent in my works. I really enjoyed Alexander Dugin’s writings and ideas. I think his weltanschauung fits too much with my own ideas. My father published his works in Italy and he was the first in Italy spreading and supporting such ideas. Now Eurasianism is a well known reality and, because of Dugin’s activity, this idea is deeply influencing Russian and neighboring countries politics.

Eurasiatism is the best way for a real fight against capitalism, liberalism and the Western melting pot.

For different kinds of reasons fascism and communism have failed and we need a new way, an actual way to fight the western-capitalist system.

Eurasianism and the Fourth Political Theory is an alliance, not a melting pot, of all the people living in this big space (Europe and Asia) ; an alliance of different traditions, religions, cultures, that united have to build a different way of economy, politics and geopolitics. The real strength of this vision is spirituality. I think we have to start seeing economy and politics as the mirror of a superior world, in Plato’s way. Only with a trascendental way of thinking can mankind retrieve a fair, right and balanced society. And this is the meaning of the Eurasian symbol: from a “point”, a “zero” (symbol of God) starts everything. And this “everything” has to remember all the time from where it comes from.

JP: It’s refreshing to see you make some of your work available for free or as very low priced downloads. How has your experience been working within the music industry, with night clubs, etc.? Here in America this is a true den of thieves.

SM: I started with the Polish netlabel Kaos Ex Machina. They released my first official cd and it is for free download. Now this netlabel does not exist anymore, but their work will stay in our memories. They released the first cds of many artists (for example Front Sonore) than later signed with great labels. I think they discovered some of the new scene of industrial and martial music.

About free downloads then I released two split-cds with two greek artists: Narog and [distopia]. I think free music is a great thing, but also a bad thing. Free music allows people to discover new artists and new kind of music, but also allow to many bad artists to block the scene with unoriginal or poor quality releases. It’s the democracy of music, and if there’s not a good selection from the netlabels, the risk is that a lot of bad music invades the web.

About physical labels I can say that from some years there are two new great labels: the Russian Ufa Muzak and the German SkullLine. They are releasing the new scene of industrial music, giving voice to new artists that now are a great reality. I think that these two labels are the heirs of the historical labels like Cold Meat Industry and Old Europa Cafe.

Clubs in Italy are not like these two new labels. Here I have always found some places and opportunities to play live, but is not so easy to propose electronic and industrial music. In latins countries like Italy, France and Spain there are some great artists but this kind of music is not so popular like in England or Germany. In Italy there’s a little scene, but many times it is ruled by a mafia that allow playing live only to djs or musical projects that are politically correct or that are “friends” to the musical organizers.

Anyway, thanks to God, I have found also good organizers that believed in me without prejudices. I think also that if really an “artist” has value, sooner or later he can find a good way to propose his ideas and way of life by live gigs, radios, zines and so on.

JP: Any advice for upcoming musicians who see you as a inspiration?

SM: I don’t think I could be an inspiration. I think my music could be appreciated and I hope my themes could wake up people; I hope my music could help people thinking about real problems and possible solutions. And if someone could in the future see TSIDMZ as an inspiration, I guess he can develop his own style and develop my themes in his own way.

I don’t like many actual artists that clone and imitate like monkeys the big great ones, saying that they take only inspiration.

I hope in the future nobody will imitate me. I hope to be only a good inspiration about attitude, but nothing more.

Cloning musical styles without a personal soul, or cloning themes without a personal accent, means destroying music or themes.

JP: A final question – we’ve heard rumor there may be a Open Revolt song in the future? Any truth to this dear friend?

SM: vIt’s with honour I can say that a song was sent during the past days to your websites. It is a track written with the french project Front Sonore. It’s a mix I have done of “Al maut li Israel”, a track of him taken from his split with another great french project, Barbarossa Umtrunk. The mix I have done is titled Palestina. Not an original title, but it’s a symbol. Today Palestina is a symbol of all the people are fighting against USA and Israel’s tyranny.

JP: Best wishes from your friends here at Open Revolt and New Resistance and continued success. Please leave us with any thoughts you choose to share!

SM: vThanks for your interesting in TSIDMZ and for your great support. This is our cause, we are at the end of times and we have to stand in this world in ruins.

Let’s always fight united, because only united we can win, like many fingers united in a punch. Our rule is to keep the flame alive for the last Avatara that will come.

Like Ezra Pound said: “If a man is not willing to die for his ideas, either his ideas have no value, or this man has no value”.

Stay in touch with the work of TSIDMZ here:

http://www.myspace.com/tsidmz

http://www.facebook.com/Tsidmz

http://www.reverbnation.com/tsidmz

Keep your eyes on the Green Star where we’ll be posting TSIDMZ’s song wrote in support of our projects soon!T