A SHORT TERM EFFECT

musique concrete / ambient music / avant-garde / electroacoustic / experimental / noise / dark ambient / folk / abstract expressionism / industrial music / drone music

Alberto Picciau

ADERLATING

Alias: GNAW THEIR TONGUES

doom / abstract symbolism / electroacoustic / experimental / dark ambient / drone music

Aderlating is Mories, the deus ex machina of De Magia Veterum, Gnaw Their Tongues, Ophiuchus.

ANA-MARIA AVRAM

art of noise / noise music / twelve-tone music / serialism / computer music / reduced listening / spectral music / elektronische musik / avant jazz / musique concrete / modern composition / abstractism / ambient music / expressionism / acousmatic / minimalism / avant-garde / electroacoustic / experimental / noise / dark ambient / contemporary art / conceptual art / drone music

Ana-Maria Avram was born in 1961 in Bucharest, Romania. She attended the National University of Music in Bucharest from 1980 to 1985 then she studied aesthetics at Sorbonne Paris. She was also the co-director of Hyperion ensemble with her husband Iancu Dumitrescu, who founded the ensemble in 1976. Avram also took on an administrative role by creating Spectrum XXI festival and was an early member of the Romanian Community of electronic and computer music. She continues to have performances of her works after her death, like Issue Projects Room's "Tombeau for Ana-Maria Avram" concert.

Avram's music synthesized contemporary classical, improvisation, electro-acoustic- and electronic music. Her music tended to move between improvisation and notation. She tended to use electronics to augment her sonic palette.

Romanian composer and interpreter Ana-Maria Avram was born in Bucharest in 1961. She is one of the flag-bearers of hyperspectralism, a movement that explores the phenomenological, dynamic presence of sound and understands composition as a performative experience of constant change rather than as a contained, pre-formatted process.

In 1976, Avram founded and began conducting the Hyperion Ensemble together with her husband, collaborator, and fellow composer Iancu Dumitrescu, for the performance of their own and other hyperspectralist works. Avram has written over 90 pieces of solo, chamber, and orchestral music for instruments and/or electronics. Most of this music is inextricably linked to a deep conviction about the spirituality and soul inherent in sound space, and she views compositional techniques oriented around imposed structure and control as a kind of desacralisation. She begins the compositional process by meditating. A piece then takes gains substance and contour until it is finally sculpted and liberated live: “When Ana-Maria Avram conducts, she sometimes seems to be plucking stars from the sky, or jabbing into hives, causing thousands of tiny critters to fly up into the air like flurries of gold dust. Avram allows the moment to shape the music” (WanderingStar e.V.).


Spectralism is a tendency in contemporary art music that takes the material attributes of sound as the point of departure for composition. Originating in France and Romania in the 1970s, partly in reaction to the perceived hegemony of serialism and other high modernist styles, since the 1980s the influence of spectral ideas and techniques has spread across Europe, Asia, and North and South America. Its most prominent representatives are Gérard Grisey (1946–98), Tristan Murail (1947--), and Horatiu Radulescu (1942–2008).


Spectral music uses the acoustic properties of sound – or sound spectra – as a basis for composition.

Defined in technical language, spectral music is an acoustic musical practice where compositional decisions are often informed by sonographic representations and mathematical analysis of sound spectra, or by mathematically generated spectra. The spectral approach focuses on manipulating the spectral features, interconnecting them, and transforming them. In this formulation, computer-based sound analysis and representations of audio signals are treated as being analogous to a timbral representation of sound.

The (acoustic-composition) spectral approach originated in France in the early 1970s, and techniques were developed, and later refined, primarily at IRCAM, Paris, with the Ensemble l'Itinéraire, by composers such as Gérard Grisey and Tristan Murail. Hugues Dufourt is commonly credited for introducing the term musique spectrale (spectral music) in an article published in 1979. Murail has described spectral music as an aesthetic rather than a style, not so much a set of techniques as an attitude; as Joshua Fineberg puts it, a recognition that "music is ultimately sound evolving in time". Julian Anderson indicates that a number of major composers associated with spectralism consider the term inappropriate, misleading, and reductive. The Istanbul Spectral Music Conference of 2003 suggested a redefinition of the term "spectral music" to encompass any music that foregrounds timbre as an important element of structure or language.

In France, spectralism grew out of the work conducted by the circle of composers associated with the new music ensemble l’Itinéraire, founded in 1973 by Murail and Roger Tessier. Although the “spectral” moniker was not applied to the music of Grisey, Murail, or other members of this group until 1979, when composer Hugues Dufourt coined the term for a radio program outlining their compositional philosophy, many of the basic precepts of the spectral aesthetic had already taken shape by the mid-1970s. Foremost among these was the call to return to sound. Exploring the psychoacoustic properties of sound, it was argued, would provide a more secure foundation for musical communication, pointing a way beyond the abstractions of serial technique. This renewed attention to the materiality of sound led to a heightened appreciation for the interdependence of its constituent parameters (frequency, duration, intensity, timbre), which stood in contrast to their dissociation in serial theory and practice.


The spectralist movement inspired more recent composers such as Julian Anderson, Ana-Maria Avram, Joshua Fineberg, Georg Friedrich Haas, Jonathan Harvey, Fabien Lévy, Magnus Lindberg, and Kaija Saariaho.

Some of the "post-spectralist" / "hyperspectralist" French composers include Eric Tanguy, Philippe Hurel, François Paris, Philippe Leroux, and Thierry Blondeau.[28]

In the United States, composers such as Alvin Lucier, La Monte Young, Terry Riley, Maryanne Amacher, Phill Niblock, and Glenn Branca relate some of the influences of spectral music into their own work. Tenney's work has also influenced a number of composers such as Larry Polansky and John Luther Adams.[29]

In the US, jazz saxophonist and composer Steve Lehman, and in Europe, French composer Frédéric Maurin, have both introduced spectral techniques into the domain of jazz.

ASTRAL LUEUR

Alias: TELE.S.THERION

doom / avant jazz / spoken word / musique concrete / psychedelic / esoteric / black metal / ambient music / weird black metal / minimalism / avant-garde / field recordings / sound art / dark ambient / nonmusic / abstract expressionism / ritual dark ambient

Astral Lueur (the name is the synthesis of german and french languages) came up from darkness in the middle of 2009. Astral Lueur's music tells about world of shadows, anomalous places with history goes back centuries, about something staying at the turn of life and death. Main concepts of project is: look at death by eyes of the dead in damned places which was lost in time.


Lunurumh - All instruments, synths, effects, and voices.

Contacts:
astral.lueur@gmail.com
http://www.myspace.com/trueastrallueur

 

AUM ARRHYTHMIA

Alias: DANIEL JANSSON / PER AHLUND / DEADWOOD

death ambient / abstractism / ambient music / abstract symbolism / weird black metal / electroacoustic / experimental / dark ambient / ritual dark ambient / industrial music / drone music

BAD SECTOR | MASSIMO MAGRINI

musique concrete / radionoise / abstractism / avant-garde / electroacoustic / sound art / experimental / dark ambient

Massimo Magrini was born in Lucca ( Tuscany , Italy ) in 1966. He had a long degree in Computer Science in Pisa University , with a thesis on musical applications of the Object Oriented paradigm. He studied electronic music with Alfonso Belfiore (professor at the State Conservatory of Florence). He collaborated with the Computer Music Lab of the CNUCE Institute of the Italian National Council of Research (CNR) for some years, developing hardware and software tools, composing his interactive computer music and playing it in various countries ( Italy , Spain , Greece , Cuba etc.). He also collaborated with private companies developing software for musical devices based on digital signal processing. During late 80s, he played in a local electronic band (Jesus Blood), using self built analog and digital synthesizers. Besides these activities in 1992 he created his Bad Sector musical project, trying to discover dark sonic areas and focusing his attention on the melting point between ambient, experimental, noise and minimal music. He has released various CDs and vinyls, always having good responses from international underground electronic music magazines and listeners. As Bad Sector, he performed live in Italy , France , England , Germany , Czech rep., Austria , Belgium , Australia and Russia . During 2002 he also started a collaboration with the Italian video-artist Giacomo Verde, creating the multimedia group called XEAR and working on interactive installations / electronic-theater scores.

BATCHEEBA

black metal / abstract symbolism / electroacoustic / experimental / noise / dark ambient / harsh / industrial music

Janne Waage Berset. Batcheeba has been working with sounds for more than 15 years. She has a deep passion for noise and silence. She is involved in several projects such as KRAFFT with Andreas Brandal, Volt with Tania Stene, Cult Of Twins (COT), Bob and Lauras Jazz Sensation and FRzo with Gird_09. She had her first track released on Quasipop Records ( «A Million Ways To Spend Your Time»)

BREATH OF CHAOS

doom / esoteric / black metal / expressionism / abstract symbolism / weird black metal / electroacoustic / experimental / dark ambient

BURIAL HEX

psychedelic / modern composition / ambient music / avant-garde / electroacoustic / experimental / noise / dark ambient / abstract expressionism / harsh

Clay Ruby.

CORPUS PRINCIPIUM

Alias: GRAUEN PESTANZ

performative art / abstract symbolism / avant-garde / electroacoustic / experimental / dark ambient / nonmusic / ritual dark ambient / drone music

Marchözelös - All instrumentation, human bones, Spells of Mist, Chants of the Serpent. Vinum - Death Rituals, Acausal Vibrations of Sanctity, Witchcraft. Aanonin - Succubus vocals, Flesh of Hecate. Gräuen Pestanz is an expression of isolation of the highest order. The Night of the Witch in the eerie light of the mid noon sun is the ultimate envisioning of the sigils invoked within each Hymn. To penetrate into the Womb of the earth and grasp the meaning of our unholy brood, this is our manifesto. The reworking of human nature into the alchemical transformation possible - the final end. Gräuen Pestanz - Marchözelös (aka Priest Marchözelös is member of "Black Funeral" the band founded by Michael W. Ford) - All instrumentation, human bones, Spells of Mist, Chants of the Serpent. Vinum - Death Rituals, Acausal Vibrations of Sanctity, Witchcraft. Aanonin - Succubus vocals, Flesh of Hecate. Related projects: Gräuen Pestanz | Elegy of Madeline | Death Posture Ritualis | Corpus Principium

CULTUS SABBATI

psychedelic / black metal / abstract symbolism / weird black metal / experimental / noise / dark ambient / drone music

CULTUS SABBATI

DANIEL JANSSON

Alias: AUM ARRHYTHMIA / DEADWOOD

musique concrete / death ambient / esoteric / abstractism / abstract symbolism / electroacoustic / power electronics / experimental / noise / dark ambient / harsh / ritual dark ambient / industrial music / drone music

Daniel Jansson is Deadwood.
Deadwood is a one-man project that was created in 2003 under the name Deadwood Murder, its only purpose was/is to satisfy my lust for raw and filthy black Industrial music. It has been a slow process with years in-between releases. The first demo was made and sent out to several labels in 2004. Cold Spring records agreed to release the first full-length Deadwood album "8 19" (HS?). And summer 2004 a split tape with black metal band Blodulv called The Havoc We Seek was released on the French BM label Forgotten Wisdom productions. Cold Spring records released the debut album '8 19' in summer 2005. It took quite a while to get the album out and for a while it looked like forces unknown was trying to stop this dark masterpiece to ever see the light of day. With multiple delays on various fronts nothing seemed to go our way. The first print sent over by the printer was a joke with the colurs all-wrong and the discs scratched. And when it was to be re-printed, the printing factory burned down. 3 years later, “Ramblack"  follows up  Deadwood's successful 2005 album "8 19". Over the past 3 years this Swedish artist has been toiling away, creating a new black ambient / death noise masterpiece and "Ramblack" is the result. Cloaked in a more raw and morbid sound then its predecessor, this album truly changes one's perspective of audial darkness. This analogue beast of an album layers the tonal prayers of demons and the distorted cries of angels, sickness and depravity. True Death Electronics. The soundtrack to your end. "Ramblack" features guest vocals from Norwegian Black Metal legend Maniac (Skitliv, ex-Mayhem), whose vocal approach on the song 'Forakt' shows the full range of his capacity. Truly one of the most sick and twisted pieces of sonic art ever recorded. Enjoy the disease!

DEADWOOD

black metal / abstract symbolism / weird black metal / noise / dark ambient / industrial music

Daniel Jansson. Deadwood is a one man project that was created in 2003 under the name Deadwood Murder, its only purpose was/is to satisfy my lust for raw and filthy black industrial music. It has been a slow process with the re-making of several songs and no vocals recorded until summer 2004. A demo was made and sent out to several labels, the response was excellent. That same summer a split tape with black metal band blodulv called The Havoc We Seek was released on the French BM label Forgotten Wisdom productions. And a few weeks later Cold Spring records agreed to release the first full length deadwood album named "8 19".

GALERIE SCHALLSCHUTZ

radionoise / experimental / dark ambient

JIGOKU NOHARA

abstractism / dark ambient / industrial music

MELEK-THA

abstractism / experimental / dark ambient / harsh / martial noise / industrial music

Melek-Tha was formed during Summer '94 by Lord Evil who wanted to play music he really felt by using experimental material and special samplers. After a few months, one advance album was out and spread through mail to friends. Adipocere Records, the French Metal label, heard this Oppressant Dark Ritual Opus I and decided to release this CD. Astrum Argentinum is the title of this first opus... In the following years, Melek-Tha remained very silent and didn't release anything at all. In fact, Lord Evil had already two other albums ready but was looking for a new label. Indeed, being signed to a Metal label was not the best thing... It was revealed in 1998 that Cold Spring Records, home of such acts as Archon Satani, Sutcliffe Jugend, Merzbow and Psychic TV, was to release the next album. In April 1999, the second opus: De Magia Natvrali Daemoniaca, Diabolus Ritual Opus II, finally saw the light on Cold Spring Records. In 1999, Solipsism Records (US) put out Post Nuclear Race on CD-R. Limited to 100 copies, this release unveiled the very bleak side of Melek-Tha, quite different from the more "mainstream" releases. Lord Evil all instruments.

MICHAEL W. FORD

Alias: ORDO TYRANNIS

musique concrete / performative art / esoteric / abstract symbolism / weird black metal / electroacoustic / sound art / experimental / dark ambient / nonmusic / ritual dark ambient / conceptual art

Michael Ford is an American musician and occult author who began his career in 1991 with the black metal band Abaddon (renamed Sorath a year later). Whilst in Sorath, Ford made his first attempts at more experimental music with Darkness Enshroud, first aided by Rahu (Dan Ferguson) and later by Shanna LeJeune. Another experimental avenue was explored with the death industrial project Valefor, whilst black metal would never leave his attention for long and has been pursued under the guise of Black Funeral which Ford originally formed in 1993. Michael W. Ford is the author of BIBLE OF THE ADVERSARY, SATANIC MAGICK, THE VAMPIRE GATE - The Vampyre Magickian, The First Book of Luciferian Tarot and THE LUCIFERIAN TAROT, LUCIFERIAN WITCHCRAFT, LIBER HVHI, BOOK OF THE WITCH MOON, ADAMU, Founder of BLACK FUNERAL, VALEFOR, PSYCHONAUT 75 and a member of ORDO TYRANNIS and HEXENTANZ.

MZ.412

Alias: FOLKSTORM / NORDVARGR / HENRIK NORDVARGR BJORKK / TOROIDH

doom / black metal / abstract symbolism / suprematism / acousmatic / weird black metal / electroacoustic / experimental / noise / dark ambient / ritual dark ambient / drone music

Maschinenzimmer 412 (currently known as Mz.412) are the inventors of the so called "black industrial", a dark and haunting music which mixes industrial noise, ritual ambient and black metal atmospheres. The mastermind behind the project is Henrik "Nordvargr" Björkk (often credited as Kremator), aided by different people with each release. Original releases from 1989-1990 came under the name Maschinenzimmer 412, eventually Björkk founded the Swedish EBM band Pouppée Fabrikk (see relative Discogs entry). The project came back in 1995 with the shortened moniker Mz.412 and a typical black metal look (painted faces, long hair, black leather), which was later abandoned. Here is one of the truly classic CMI acts, that already in 1989 released the "Malfeitor" LP. After a four year hiatus the band formerly known as Maschinenzimmer 412 were once again blowing the battle horns in 1995, and returned with a timelessly blasphemous musical statement, the "In Nomine Dei Nostri Satanas Luciferi Excelsi" album. By that time the restructured and revitalized MZ. 412 had chosen to cruise down the left handed path, a fact that has ever permeated their output: in album titles, cover art, and not least in the songs themselves, recorded as they are during rituals. By pushing the influences from satanic rites and black metal music to the limit, it resulted in "Burning the temple of god", the ultimate crossover between dark ambience and the metal genre. This is True Swedish Black Industrial, and these guys aren´t kidding; this is music to either conjure or exorcise your demons to. - Mårten Sahlén -

NEKRASOV

esoteric / black metal / abstract symbolism / avant-garde / power electronics / noise / dark ambient / harsh / drone music

NORDVARGR / HENRIK NORDVARGR BJORKK

Alias: MZ.412 / FOLKSTORM / TOROIDH

doom / abstract symbolism / weird black metal / avant-garde / electroacoustic / experimental / noise / dark ambient / ritual dark ambient / industrial music / drone music

"Driven by obsessive ideas and an uncontrollable will of producing quality ambience, Henrik Nordvargr Björkk is a man of many projects - MZ. 412, Folkstorm, Toroidh, Vargr, but it's under his given name and very own grim fashion that he delivers the most suffocating music around. Nordvargr manages to capture the spirit of bleakness like no other artist. The different shades of black and grey he paints with have never been more disturbing and at the same time more beautiful. The real Nordic giant of modern dark ambient music."

ORDO TYRANNIS

Alias: MICHAEL W. FORD

doom / black metal / abstract symbolism / electroacoustic / experimental / noise / dark ambient / ritual dark ambient / industrial music / drone music

Saint ov Gravediggers- Vocals, Lyrics, Incantations Akhtya Nachttoter- Instruments, Mutations Ordo Tyrannis is dedicated to the awakening of darken'd Chaos within the strong and the continuation of despair in the amass'd weak. Ours is a song of the cruelty of the iron soul and the corrosion of that which endures solely through the pity of crippl'd mercy. Ours is the roaring of essential Darkness. Ours is the dirge of shatter'd days. Ours is the litany of the Rust'd Aeon.

PAIN FORGED

doom / black metal / abstract symbolism / weird black metal / experimental / noise / dark ambient / drone music

PER AHLUND

Alias: AUM ARRHYTHMIA

musique concrete / sound installation / esoteric / abstractism / ambient music / abstract symbolism / minimalism / avant-garde / electroacoustic / sound art / experimental / noise / dark ambient / abstract expressionism / ritual dark ambient / industrial music / drone music

Per Ahlund, born 1976, resides in Stockholm, Sweden where he’s involved in several experimental music-, improvisation- and sound art-projects. His live soundscapes blur the boundaries between noise and music, stillness and hysteria, darkness and light. He create compositions on the verge of dissolving and focuses on mood and texture rather than tonality and rhythm. He performs live on a regular basis and has the last few years toured with acts like Amber Asylum, ?Alos, b°tong and Origami Galaktika. He has released several full length albums containing abstract, dark soundscapes with such projects as Diskrepant, Skare and Aum Arrhythmia. Live he use contact microphones, gadgets, loops and effects to form abstract sound environments created in the moment. His live performances are often based on old radios, voice, newly found objects and junk used as instruments. “The soundscapes encourage you to travel, and then dissolve, in space and time. To merge with the frequencies. To have a dialogue with yourself. To finally think of nothing. To be released...”


 

RMEDL

Alias: SG

doom / sound sculpture / photography / video art / visual art / avant jazz / spoken word / musique concrete / performative art / sound installation / modern composition / psychophonia / electronic voice phenomena (evp) / transcommunication / esoteric / black metal / ambient music / acousmatic / minimalism / avant-garde / electroacoustic / sound art / experimental / anti records / concrete turntablism / noise / dark ambient / contemporary art / nonmusic / constructivism / abstract expressionism / conceptual art / drone music

RMEDL | RADICAL MATTERS EDITIONS LABEL

SACRAMENTAL CEREMONY

documentary / doom / musique concrete / esoteric / black metal / ambient music / abstract symbolism / minimalism / avant-garde / experimental / dark ambient / site specific / ritual dark ambient / industrial music

An untold arcane document about early 1988's avant dark atonal black doom metal.

SCAPEGOAT

abstract symbolism / electroacoustic / experimental / noise / dark ambient / industrial music

The Goat, assisted by The BUTCHER and LORDHELL. Scapegoat began in the early 1990's. It was in a dark building in downtown Salt Lake City, during the twilight hours. Heavily inspired by Legion, Lustmord, Controlled Bleeding, Ain Soph, Zero Kama, LAShTAL and other ritual and dark ambient sounds, The Goat combines these feelings and ideals with our own unique sounds. We use electronics and acoustic instruments, and a great deal of our sounds are supplied by the ambience of the dark world around us in various locales, as well as our own voices. Our material will range from the harshest noise to lush ambient sounds. There is no god. There is no magic. There is no heaven nor is there a hell. There is only Science. There is only Logic. There is only Death. Only Space and Time are Reality. After Death, Space and Time blur and distort- and one can travel wherever- and whenever- one wishes. We have found a way to do this before death. Use our sounds.

SEWER GODDESS

death ambient / abstractism / electroacoustic / experimental / noise / dark ambient / harsh / industrial music

Kristen M. | Sewer Goddess echo's like the voice of rust. Like a pole dance from a mutilated corpse. Like the chaos and filth that collects in the gutters and the cracks in the sidewalks. Like the sadness and shamed lust of glory holes, like the hum of fluorescent light sliding through the grates of a killing floor. Like fucking. Like dying. Black atmospheres spiraling down into discordia. Like time eating itself. Like drugs. Like contempt, madness, and lust. The tune you hum unawares leaving the Doctors office where you've just received your diagnosis: INOPERABLE.

STEEL HOOK PROSTHESES

abstractism / avant-garde / noise / dark ambient

Steel Hook Prostheses was concieved in 1999 by John Stillings & Larry Kerr. Heavy Electronics: power electronics, death industrial, dark ambient, and harsh noise.

TELE.S.THERION

Alias: LUNURUMH / PAOLO SANNA / JASON VAN GULICK / LE QUAN NINH / MICHEL DONEDA / STEFANO CORSI / FRANZ HAUTZINGER / DAN BLACKSBERG / KRISTIAN CUCCHIARA (PROFANAL) / REINHART HAMMERSCHMIDT / ELI LITWIN / ROGER TURNER / RENè LUSSIER / NICK DIDKOVSKY / MASSIMILIANO VIEL / SG / K11 / ASTRAL LUEUR / KASPER T. TOEPLITZ / ANTOINE CHESSEX / WILDNESS PERVERSION | MORTUARY DRAPE

noise music / reduced listening / free jazz / acousmatic black metal / doom / avant jazz / musique concrete / sound installation / modern composition / esoteric / black metal / ambient music / abstract symbolism / acousmatic / minimalism / avant-garde / electroacoustic / field recordings / sound art / experimental / dark ambient / contemporary art / nonmusic / abstract expressionism / ritual dark ambient / conceptual art / industrial music / drone music

TELE.S.THERION
Acousmatic Black Metal Ensemble.

In large Ensemble with:
Lunurumh, Nick Didkovsky, Norman Westberg, Renè Lussier, Roger Turner, Eli Litwin, Massimiliano Viel, Reinhart Hammerschmidt, Kristian Cucchiara (Profanal), Dan Blacksberg Franz Hautzinger, Stefano Corsi, Michel Doneda, Le Quan Ninh, Jason Van Gulick, Kasper T. Toeplitz, Antoine Chessex, Paolo Sanna, Wildness Perversion [Mortuary Drape].

Acousmatic Black Metal is the TST self-defined musical genre. Music for loudspeakers and audience: based on atonal music and non-idiomatic improvisation principles, applied to a radical Black Metal approach, linked to authors such as Abruptum, Hell Icon, Mözkörke, Emit, Amaka Hahina, Moëvöt, Profane Grace, Astral Lueur, Black Pentecost, Darkness Enshroud, Gnaw Their Tongues, Sunn O))), Grauen Pestanz, Summum, MZ.412, Havohej, Knálh-Kurruv-Kih, Flittering, Burial Hex, Utarm, Wolf Eyes, Zero Kama, Karlheinz Stockhausen, Hermann Nitsch, Edgar Varese, Antonio Russolo, Giacinto Scelsi, Luigi Russolo, Groupe de Recherche de Musique Concrčte, AMM, Gruppo di Improvvisazione Nuova Consonanza, Spontaneous Music Ensemble, Musica Elettronica Viva, The Music Improvisation Company, Universe Zero, Groupe de Recherches Musicales, Scratch Orchestra, ONCE Group, following the non-musical aural path of early Sodom, Hellhammer, Beherit, Blasphemy, Von, Wormphlegm, Mordor, Senthil, Thergothon, Kranivm, and many more authors who moved from the borders of this sound paradigm. Inspired by the Russolo‘s researches in his Black Art of Noise; the sound spatialization studies of Karlheinz Stockhausen and his music theory; Edgar Varese‘s studies and his vision of “sound as living matter“, the non-objective and aniconic art of Tele.s.therion, is centered on polyphonic sound projections for immersive deep listening experiences, in order to unleash the auditory stimuli that allow the altering of cognitive-perceptual processes (pareidolia), to bring out imaginative and synaesthetic subconscious processes, the epopteia! What we commonly know today as Black Metal, it’s just one of the possible forms available.

[ FREE DOWNLOADABLE A5 FANZINES ]

◢ http://www.radicalmatters.com/C.O.M.M.E.N.T.A.R.I.V.M.I.pdf

◢ http://www.radicalmatters.com/C.O.M.M.E.N.T.A.R.I.V.M.II.pdf

◢ http://www.radicalmatters.com/C.O.M.M.E.N.T.A.R.I.V.M.III.pdf

◢ http://www.radicalmatters.com/C.O.M.M.E.N.T.A.R.I.V.M.IV.pdf

TELE.S.THERION Acousmatic Black Metal Ensemble
Tele.s.therion music program it’s based on the use of techniques and dynamics borrowed from musical genres such as Jazz and Rock, and thus from the practices of the radical primitive Blues that unites them, and that can be find ourselves in the original Black Metal music, introduced here as an interpretive key inside of a compositional and executive system linked to practices carried out by the fringes of classical, modern, non-idiomatic, contemporary, and avant-garde music (with a special interest on the concrete and acousmatic process), sound art, improvised, atonal, black, dark and doom heavy metal, searching for the roots of the meaning of these terms, for their sonic phenomenas, their thought forms, before they became a music genre.

What we commonly know today as black metal, it’s just one of the possible forms availabes.

It is necessary start to watch through the veil of this genre, with an upside down point of view, to discover its das unheimliche, to transgress the stereotopies and cliché, and design new possible forms whithin this musical dimension; to start a new auditory journey to the roots of Black Metal music. The Black Metal's engineering its mutuated by its royal descent, which is derived from the practices developped in Punk and Thrash era, and it is distinguishable by a strong interest in the aesthetic theories, focusing on the physiological effects of special categories such as the sublime, which here become extra musical evocative suggestions, shock tactics, hard edged, transgressive and antiestablishment attitude, iconoclasm, etc. [...]

The TST compositional method, the sound matters was previously selected choosing the performers; the characters and the timbres of the sound bodies chosen for this acousmatic composition, are a unity with the personality of the author involved in the ensemble. Such as characters on the set of a movie, they play blind and alone, using a script and few essential indications. [...]

To keep this aspect of independence of each sound event, each author was called to perform himself, recording his own sessions separately, as a moment form, without knowing what the other authors involved will do. Each recording session, it's conceived and treated as a sort of whodunit, an event developed inside the "locked room mystery", a narrative approach conceptually transposed in sound art, where each detail it's a fondant clues of the acoustic scene, raw material that becomes a sound object per sé. [...]

T.S.T.

https://telestherion.bandcamp.com

https://www.youtube.com/user/TELESTHERION

http://www.discogs.com/artist/Tele.s.therion

https://cmmntrm.blogspot.com

https://www.youtube.com/channel/UCX2UUikTbW5TMtGSXwZzuBA

http://lnx.radicalmatters.com/tele.s.therion

https://rateyourmusic.com/artist/tele_s_therion