Alex Bonacci – drummer – All the Mornings of the World
We’ve just wrapped up an interview with Alex Bonacci, the smooth groove master that can be heard with the new band All The Mornings Of The World. A recent creation coming out of Europe this powerful trio is setting the bar high on their first release Did You Miss Me?
But don’t be fooled into thinking they’ve got some novice on the kit, Alex brings with him a deep experience having studied under renowned teachers, collaborated with multiple world recognized artists and even opened his own music school. Yah, and what did you do today?
We here at Drum and Blog acknowledge Alex’s talent but will state that we interviewed him on account of having discovered AtMotW and falling into its intriguing alternative, almost experimental sound. We liken them to a weird combination of Incubus and Porcupine Tree. Our favorite track is titled And Nothing Will be the Same, which we have also secured a copy of the drum tabs. That’s right drummers, you can read, watch and play along. If you can hang that is. Spartito_DrumAndBlog
Here now the interview with Alex Bonacci, drummer of All The Mornings Of The World.
Q: What musical accomplishment are you most proud of?
A: I’m proud of several artists I worked with. Roberto Diana – I toured and played in his solo album Raighes VOL.1 and which allowed me the pleasure to work with the great sound engineer Stefano Olla. My collaboration with Alessia D’Andrea (Ian Anderson, David Arch, etc.), one of my first professional works, where I had the pleasure to play with Stephan Zeh (Lionel Richie, Phil Collins), Florian Opahle (Jethro Tull, Greg Lake), Franco Catricalà, etc. “Vincent”, which is is an Italian pop-rock band. With them I won the Sanremo Rock Festival in 2005. And All the Mornings of the World, of course!
Q: What’s your favorite groove to play right now?
A: When I sit down to practice on my drums, I always have some strange grooves to play! I like a lot the grooves played by Manu Katchè on “Come talk to me”, Peter Gabriel (Secret World Tour) and some Gavin Harrison’s patterns.
Q: You’re clearly a very experienced and accomplished drummer, I’m curious what do you still struggle with (from a technical aspect)?
A: Well, for 2 years I have been working a lot in rock and pop-rock projects, so I often used 4/4 rhythms and I became lazy… So I’m now working on odd time signatures, polyrhythms and stuff like that to open up my mind.
Q: What’s been going on at your music school, La Casa del Batterista?
A: Well, I opened my school in Turin – Italy – where I had many students. I personally follow every student of the school. It takes a lot of energy. Because we offer many additional services, thanks to the collaboration with the Bioritmo Studio that hosts our classrooms. They provide rehearsal rooms, music production and video/photo production. Simone Raspi, Bioritmo Chairman, has been my first collaboration since when I arrived in Turin.
Q: Who was your favorite great drummer to work with/ study under? Why?
A: I think I can say that teachers that did “open-up my mind” are Ron Savage from the Berklee College and Maurizio dei Lazzaretti (Rai television orchestra and freelance musician for many top italian artists).
Q: You’re endorsed by UFIP and Facus, how did that come to be?
A: I always had my sound. I have got it in my head. When I started to look for endorsements and collaborations, I tried to find what I wanted in Italy first of all. I love my lovely and damned country… So I contacted Fabrizio Facus Cucchiella, who I met a few years ago because I was interested in testing his brushes. And so I started the collaboration with Facus Drum. A few months later I had the chance to talk with Alberto, from UFIP – Earcreated Cymbals. UFIP is one of the most important brand of cymbals in Europe, together with the three other ones we all know.
Q: How did AtMoTW come about?
A: I was in Turin to open my drum school and I was contacted by Mattia Clera (vocalist and chapman stick player). We met a few days later to discuss his project and I liked the demo he brought me. He was due to record the album in some weeks, so we arranged a jam session to listen to how we sounded together… And it was fantastic!
Q: Can you tell us any more about Clera’s stick (I’m unfamiliar with the instrument)?
A: This instrument is really peculiar. In other words you’re going to play a bass guitar and a guitar at the same time. You have 10 strings: 5 for the bass (the upper ones) and 5 for the guitar (the lower ones).
Q: How do you spread the word of your music in Europe vs America vs the rest of the world?
A: I think it’s important to go out and play. In Italy it has been very hard in the last few years, because there is a very low level of music culture. But if you play a lot you could create a fan base that could allow to sell your show. But I prefer to play in other countries where people are interested in what new artists have to offer.
Q: What does your band struggle with the most?
A: I think that the main problem in every project I took part was the booking. Booking agencies are so many, but the good ones are really just a few. Nowadays you can sell less CDs or digital tracks, so live concerts are really important for music industry. In Italy there are only a couple of big booking agencies that manage all of the big events, and then there are so many small booking agencies that often are not able to organize a real tour for bands.
Q: If you could change something about the music industry (in how it specifically affects you), what would that be?
A: Oh, it’s too long to write here… (lol)
Q: Do you have any pre-performance rituals or superstitions?
A: I tried to not become victim of rituals.. Because I’m afraid that it could make you feel insecure if you cannot do it in some situations.
Q: Best beer to drink before / during / after a gig?
A: I usually not drink before a gig, maybe after… I’d like to be sober on stage. I like a lot the “Newcastle Brown Ale”, a beer that I always drink when I’m in London.
Find Alex here
Find the band here