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Rating: In front of the newsstand at one of the many Milan subway stations: two clear blue eyes under a black knit cap, a big and engaging smile... That's how my encounter with Marco Iacampo, aka Goodmorningboy, began:
1) When did your passion for music start?
Maybe it's the first time I've answered like this; first of all, I liked listening, it started from listening to music and then playing; it wasn't a very contemplated choice, it was logical! In the sense that someone likes watching soccer, and they feel like playing! So, at first, it wasn't about singing, even though the idea of singing songs to girls appealed to me, but you had to know how to do it, I tried to avoid things like the "Canzone del sole" that everyone did, no, I played Led Zeppelin, things that drew you in! I remember that the first things I did, apart from church things, was to set Edgar Allan Poe's poems to music because I always liked English; since I was young, I was fascinated by the idea of this alternative language. I started playing the piano, maybe more due to my mother's idea; I lasted three months, then I went to the piano teacher's son, who played the guitar... anyway, I started writing and singing songs later.
2) You've played abroad, how was it?
It was strong, beautiful. They proposed I go back, and I also have record offers. I've met the independent scene in Germany, and it's more disciplined, it's easier to play and have fun. It's easier to find an audience that listens; in Italy, it's a bit more laborious, there is less concentration in shows in general; perhaps, culturally, in Italy, we are more whimsical in mentality, and there I noticed they have the same discipline in following a small concert as a big one. Also, there's much more stuff circulating in Germany, there's more activity, there's more competition, consequently, it's easier to emerge, there's more speed in the machine.
3) You started playing in a band, now you're continuing alone, what has changed?
Having support on stage is a different thing... I would like to have it, but I also have to get along with them, and I need to respect them logically; they also need to be stimulating, and all this was missing in the band I had. Honestly, I've played with stimulating people! I like those who know how to play well, playing well means having a certain relationship with the instrument that is natural, spontaneous, passionate, and many times this doesn't happen! I like playing with people who know how to play because I tend to be a singer, and so I contribute the voice like you contribute what you know how to do, so if you're a drummer, you have to be a good drummer. Now I'm working on improving the education of my voice.
4) I heard you sing live, and compared to the CD, you have a very different voice...
There, it's before the study on the voice!... So: that CD is one mistake after another, it's something that got out of hand, I was too out of it to be able to write the songs consciously, also the pre-production wasn't done. When I entered the studio, no one knew anything about that CD, the musicians knew nothing, in the studio, I wasn't able to do anything at a managerial level! It all got out of hand, from the recording to the voice to the physical approach to the tracks: that CD is a thicket... You don't quite understand who is behind it, you don't understand because it's cryptic! It says what's on your mind, but it's not what's on my mind now. That CD rarely touches the heart; in "All is falling," I say "I'm not in love" but not in love with a girl, it's not love in the soul, I don't have it, it's a mental thing, and it's strong for this... Sometimes when you write, you let the unconscious part write, and there it's the "nonplusultra"; maybe that's why I'm not very attached to it: because it feels somehow distant, it's almost written in another language, it's very symbolic. However, it's very important; I'm convinced it was more important for me than for those who listen to it, and since I've understood that it must be important for me as much as for those who listen, from this point of view, it must be somehow communicative on any level. I think that CD doesn't have great communication but works more on a different level of understanding things, I'm very critical regarding that record, very critical because it got out of hand. It has the charm of something that got out of hand, and it's not what I want from myself, it's important to maintain a certain discipline in writing because it also affects one's mental, physical health, and relationship with music, with oneself.
5) Is music your whole life?
...Yes, it's my whole life, it's the only thing I like to do, also painting. Some people succeed in escaping or delving into it, while with music... When I write songs, I somehow try to square the circle, it's a geometric job, this song job, it's an architecture job, and so maybe it's dealing with the nature of man and things.
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