Paul Louis Villani revisits his doom-blues anthem Fighter, transforming it into a darker, angrier alternate version that fuses defiance, blackened intensity, and survival into a sharpened blade of sound.
1.
“Fighter” was already a standout on The Other Side of Silence. What pushed you
to reimagine it into this darker, angrier alternate version?
After
listening to the track million times during the mixing process I was hearing
this doom death metal growl thing in my head during the then instrumental
bridge. Once I heard what was in my head in a females voice, I was hooked.
2.
You’ve described the new version as “not a remix or edit, but a sharpened
blade.” Can you expand on what that means to you artistically?
Yeah, it
was kinda like when you’ve been watching a movie for two hours and all of a
sudden there’s this crazy plot twist outta nowhere and you’re like “Whooooaaa
that’s crazy!!” LOL!
3. The
added vocal bridge feels like the centerpiece of this alternate cut. How did
that section come together, and what emotions were you channeling?
As I said
it began bubbling away in my head during the mixing process, especially the
part where it’s not words but like a ad-lib vocal part, then the death metal
growls come in and deliver the lines “Anther wall is forming, deep inside of
your head, a list of c###ing fools, wish to see you dead!” Rebellion,
Resilience, Confrontation and F**k You, all within a few words!
4.
Doom-blues and blackened elements don’t often collide. How do you balance those
worlds without losing the raw emotion at the core?
As a writer
and primarily a guitarist, it is all by feel. You can play all sorts of
styles/genres and thousands of notes or chords but if there’s no vibe in the
flow (you know, verse to chorus, chorus to bridge as an example) then it’s not
working and most of the time you (I) have to trash it and either start again or
go down a different path of creation. All of this cannot be forced, it’s a very
organic process and when it works, the vibe is awesome!
5. Would
you say this alternate version represents a shift in your musical direction, or
is it more of an experiment within your established sound?
No shift.
It sits comfortably with me to be known as a multi-genre, multi-instrumentalist
composer/producer. Since deciding that playing live was no longer on the agenda
(June 2021) experimentation is where creativity lives happily. My next lot of singles/EPs/LPs
will stand testament to that statement.
6. The
song radiates defiance and survival. Were there specific personal experiences
or struggles that fuelled this transformation?
Yes. I can
think of many real life examples that help me write songs like these. I mean
everyone must have a “list of c***ting fools” that make their life a little
tougher than it should be… I’m one of the lucky one’s who get to write songs
about them! Check out a single I released in 2023 “Pander to the Pathetic”, and
see if I’m writing about a particular “c***ting fool” or not!!
7. The
atmosphere is thicker and more menacing compared to the original. How important
is atmosphere in your song writing,especially for a track like this?
Massively
important! The sound of this song creates an uncomfortable atmosphere because
that’s where the reality lives. If the atmosphere reminded the listener of snow
flakes and dandelions then I really f**ked up somewhere in the writing/recording
process!
8. When
listeners hear “Fighter (Alternate Version),” what do you hope they take away
that they might not have felt in the EP version?
I hope
every individual listener takes away the feeling of eventual survival through
constant turmoil. Even though it’s an angry, rebellious song, there’s uplift.
That uplift can be fine tuned to every unique listener, for each of them to be
inspired to survive or achieve whatever it is they are each striving for.
9. Your
work seems to thrive on extremes—both musically and emotionally. Do you
consciously push boundaries, or does it happen naturally as you write?
It’s always
natural. I mentioned previously that none of this is forced. Creation, for me,
is never a scheduled appointment.
Honestly,
99% of songs I write, even the ones that don’t sound like it, begin with me
sitting in my studio, with a guitar in my hand, a digital audio recorder on
standby and a digital notepad handy in case words show up in the process. As
I’ve said previously, my next lot of releases are not the usual PLV (sonic)
output, lots of samples, beats and loops etc. but, a guitar was somewhere in
the creative journey.
10. How
does this release fit into the larger narrative of The Other Side of Silence?
Does it extend the story, or does it stand alone as its own statement?
Great
question! Making me think about this! I think it does both… that’s a shitty
answer though! LOL!! I’ll settle on “extending” the story. Metaphorically it’s
like “The Other Side of Silence” is two people having a conversation at a bar
somewhere, then some random person walks into the bar (Fighter the Alternate
Version), overhears the conversation and let’s the other two know what their opinion
is, then just walks away. That opinion is so deep and dark that the original
two people are left speechless, just starring at each other and thinking “What
the F***K just happened?!”
11.
Melbourne has a rich and diverse underground scene. How has the city influenced
your sound and your willingness to explore these darker territories?
Your
insight into my hometown is awesome! Melbourne has and always will be a
cultural home of massively diverse range. Let me throw all the arts into one
basket here and Melbourne on the whole, embraces them all quite well. A
downside of the city is that there is a vast gap between perceived success and
underground fame. Some of the nonsense that gains momentary spotlights can be
easily sellable trash that turns the guts of true artists who can small time
momentum to loyal local punters. I come from a time when, in Australia, as a
musician, if you were doing the right drugs with the right people, you actually
had half a chance of getting a go. I know I haven’t played live for quite some
time but I’m guessing not much has changed. Over my near 40 year musical journey,
I’ve always chosen to spend my last cent on guitar strings rather than
something to shove up my nose.
12.
Looking ahead, can we expect more reimagined works like this, or are you
already carving out new material that pushes even further?
Damn!!! I
should’ve read this question first, then I wouldn’t have said all those things
I said earlier!! LOL!
For me,
genres are like jail cells. You don’t want to get stuck in one for too long.
Music, like a lot of things in life, is better without boundaries.
Peace!
Paul Louis Villani (@paul_louis_villani) • Photos et vidéos Instagram
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