A SHORT TERM EFFECT

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

Alberto Picciau

A.M.K.

avant-garde / electroacoustic / sound art / experimental / anti records / concrete turntablism / nonmusic / constructivism / abstract expressionism / conceptual art / fluxus

AMK is an American pioneer on experimental music based on extreme and concrete turnatablism, active since the early 80s. Owner of the label Banned Production.

AA.VV. | STARING AT THE WALL III

Alias: MECONIUM

grind / performative art / actionism / abstractism / body art / expressionism / avant-garde / electroacoustic / power electronics / sound art / experimental / noise / nonmusic / abstract expressionism / harsh / abstract surrealism / surrealism

Italian Harsh Noise Wall festival
Organized by: Toxic Industries & Claustrophilia Records
Curated by: Lorenzo Nascitari

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.

ALEKSANDER KOLKOWSKI

sound sculpture / avant jazz / musique concrete / performative art / sound installation / modern composition / abstractism / avant-garde / electroacoustic / sound art / experimental / concrete turntablism / noise / contemporary art / drone music

Aleksander Kolkowski (born 1959 in London) is a British musician and composer whos work combines instruments and machines from the pioneering era of sound recording and reproduction (Stroh violins, wind-up Gramophones, shellac discs and wax-cylinder Phonographs) to make live mechanical-acoustic music. He lives and works in London , England . Kolkowski studied music at the University of London , Goldsmiths College , violin with Clarence Myerscough at the Royal Academy of Music. Taught by John Tilbury, Hugh Davies and in 1982 participated in seminars and performances directed by John Cage.In 2002 he founded Recording Angels, a series that examines our relationships to recorded sound using antiquated home-recording devices such as Phonographs and acetate record cutters in performances and installations.

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.

ANDREA MARUTTI

musique concrete / abstractism / avant-garde / electroacoustic / field recordings / experimental / noise / nonmusic / industrial music / drone music

Andrea Marutti was born in 1970 and currently lives in Milan, Italy. He began his experiments with music in the early '90s using tapes and concrete elements. A few years later he also started to use synthesizers, samplers and other electronic devices, and founded the Lips Vago Digital Studio. His most well-known projects are Amon and Never Known. Several releases of Ambient / Dark Ambient music were published by labels such as Eibon Records, Nextera, Amplexus, Silentes, Drone Records, Taâlem, etc. on CD and other medias. He is also responsible of many other projects dealing with different styles of electronic music ranging from Lo-Fi / Weird / Cheap Electronica to IDM (Wolkspurz & Ramirez, Lips Vago), Dada / Noise / Non-sense (Spiral). Recently he also started recording and releasing experimental/ambient tracks under his own name, in duo with Nimh / Giuseppe Verticchio as "Hall of Mirrors", with Davide Del Col (Ornament, Echran) as Molnija Aura, and again in duo with Andrea "Ics" Ferraris as "Sil Muir". During the years he had the chance to collaborate and play with many friends/musicians/artists: Nefelheim, Madame P, Fausto Balbo, Aidan Baker, Dronaement, Bugo, Hue, Krell, Femina Faber, a034, Florian Filsinger, Roberto Bellatalla, Elephant Zyclus, Kabal, Moan, OvO, Ventolin Orchestra, Sparkle in Grey, Mark Hamn, V/VM, Manuele Cecconello, Amalia Del Ponte, Subterranean Source, Raffaele Serra, Biped... He runs a small label called Afe whose 10th birthday was celebrated in 2005. Among the musicians who had their music released on Afe we would like to mention Maurizio Bianchi, Bad Sector, Maeror Tri, Telepherique, De Fabriek, Ultra Milkmaids, Aidan Baker, Ovum, Steve Brand, Logoplasm, Raffaele Serra, Ellende, Bestia Centauri, True Colour of Blood, Gerstein, Dronaement, Frog Pocket, Moan, Nimh, Brian Lavelle...

ANTOINE CHESSEX

Alias: DARK MATTER

avant jazz / musique concrete / modern composition / abstractism / ambient music / minimalism / avant-garde / electroacoustic / sound art / experimental / noise / harsh / drone music

Antoine Chessex is a composer and sound artist born in 1980 in Vevey, Switzerland, with a background as a saxophone player and performer. His sonic researches include compositions for ensembles, solo works, transdisciplinary collaborations and sound installations . Chessex´s works are based on the exploration of the physicality of sounds and spaces and deal with acoustic as much as electronic and electroacoustic mediums. His solo works feature dense layers of sustained pitches reacting with the architecture of the space or massive clouds of amplified sax resulting in intense live actions in total immersion in the sound. He presents his works worldwide and appears at numerous international festivals and venues in the U.S.A, Russia, Japan, China and all around Europe. Recent compositional works include "DUST" for 3 violins and electronics (commissioned by Pro Helvetia), "Resonant Water" a site specific piece for acoustic ensemble, "Metakatharsis" commissioned by the Phoenix Ensemble in Basel (2011) and "CHUTE" commissioned by the Kammerensemble Neue Musik Berlin (2011) as well as numerous electronic music pieces.

ANTON MAIOF

Alias: MATARRATAS / ULTRA SPIESSER

avant jazz / musique concrete / abstractism / minimalism / electroacoustic / sound art / experimental / noise / drone music

ANTONY MAUBERT

musique concrete / abstractism / ambient music / minimalism / avant-garde / electroacoustic / experimental / noise / glitch / drone music

Antony Maubert
composer, improviser
(digital synthesis, home made controllers, circuit bending, sound art, instrumental music, performance)

Antony Maubert is a self-taught electronic musician and composer. Came late to sound art and improvisation.
In 2001 he attended at the Ateliers UPIC (founded by Iannis Xenakis in Paris) where he focused on electronic music and a few years later he received the SACEM prize, then worked as music consultant for Les Gobelins (Paris), responsable of educational department at Cirm-Manca (Nice), and taught sound art and computer music from 2006 to 2010 at  CNRR of Nice.  Since 2010 he works as a free lance composer and sound artist.
His work covers a wild range of musical aspects : instrumental and electroacoustic composition, improvisation, fixed media work, live electronics, interactive sound installation, performance, stage and short film music.

His music is often a theater of analysis and deconstruction of modern society. His work Ce qui aura fait notre solitude (a reflection on men and science confronting nature), Religion du Travail (his first piece in a trilogy dedicated to mediatic and political discourse), and Insomniac (describing the acceptance of daily ordinary violence) are examples of the evocative strength of his work. His installation work generally confronts borderless spaces, cross-cultural hybridity and identity.

He regularly curates concert series in Madrid (La Zona, Undae!), and co-presents the radio show Undae! aired on Radio Circulo de Bellas Artes 100.4 FM

ATRAX MORGUE

musique concrete / death ambient / abstractism / electroacoustic / power electronics / experimental / noise / nonmusic / harsh

Atrax Morgue was the nom de plume of Italian noise musician Marco Corbelli. Many of Atrax Morgue's early material was released on cassette, as part of the industrial/noise 'cassette underground' of the early 1990s. Often these cassettes were released on Corbelli's own Slaughter Productions label, some of which have now been reissued on CD-R. Throughout the late '90s, Atrax Morgue released numerous CDs on prominent noise labels, such as Self Abuse Records, Release, Old Europa Cafe, RRRecords, Crowd Control Activities and Ars Benevola Mater. Corbelli committed suicide May 6, 2007.

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»)

BIG CITY ORCHESTRA

avant jazz / musique concrete / ambient music / avant-garde / electroacoustic / field recordings / sound art / experimental / anti records / collage art / noise / nonmusic / abstract surrealism / fluxus / drone music

Big City Orchestra is a long running art/anti-art group based generally in California . They have an ever rotating cast of musician and nonmusician members. One of the most idiosyncratic and original groups of the past two decades, BCO is not your standard Orchestra. Situated in the greater San Francisco Bay Area, the band has released an enormous catalog of recorded material over the past two decades. Formed in the late 1970's the ensemble continues to maintain a free-flowing roster of artists from around the world that collaborate on specific projects. Categorizing the Orchestra into any given genre can be a task, as releases continue to surprise even the most devout listener. There is never any way to precisely classify the next BCO release. An album of authentic sea-shanties? A wall of noise? A shimmering downpour of lullabies whispered to the wind? A humorous or thought-provoking album of Sound Collages? Vocal excursions set to make Rod McKuen blush? We press play, leaning forward with slight apprehension. We await the first wave of blissful deception. We are perpetually rewarded.

BLIND CAVE SALAMANDER

avant jazz / musique concrete / psychedelic / ambient music / avant-garde / electroacoustic / experimental / folk / abstract surrealism / industrial music / drone music

Blind Cave Salamander are: Fabrizio Modonese Palumbo, Paul Beauchamp, Julia Kent, Marco Milanesio. Blind Cave Salamander is a project by Fabrizio Modonese Palumbo and Paul Beauchamp often backed up by sound designer, producer and engineer, Marco Milanesio and cello player Julia Kent. An unusual mix of electronica, strings and guitars, drones and field recordings; a collection of finely wrought sounds that at times lean towards hypnotic lullabies and at others towards abstraction. A hybrid of the natural and the synthetic of which, like the Proteus, the pale-skinned, cave-dwelling amphibian that lends its name to the project, Blind Cave Salamander unravel shadowy, nocturnal landscapes. special guests and collaborators so far: - Andrew Liles: lounge, fashion, metal and beef - Colin Potter: live sound - Fabiana Antonioli: live visuals - Fovea Hex: sounds and music (live) - Jochen Arbeit: "Soundscapes", sounds and music -Julia Kent: cello, voice, arrangements (studio and live) -Marco Milanesio: recording, mixing, production, sound design - Nurse With Wound: "Soliloquy For Lilith", sounds and music -Michael Begg: electronics on "Troglobite" -Paul Wallfisch: piano on "Troglobite" -Pietro Riparbelli: instrumental transcommunnication action on "Nietzsche Fabrik Sessions/Transmission" -Ruth Bayer: "Splash"

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.

CHRISTINA KUBISCH

sound sculpture / musique concrete / sound installation / modern composition / abstractism / ambient music / acousmatic / minimalism / avant-garde / electroacoustic / field recordings / sound art / experimental / noise / contemporary art / site specific / conceptual art / drone music

Christina Kubisch belongs to the first generation of sound artists. Trained as a composer, she has artistically developed such techniques as magnetic induction to realize her installations. Since 1986 she has added light as an artistic element to her work with sound. Her work displays an artistic development which is often described as the "synthesis of arts" - the discovery of acoustic space and the dimension of time in the visual arts on the one hand, and a redefinition of relationships between material and form on the other. Christina Kubisch was born in Bremen. She studied music, painting and electronics. Performances and concerts until 1980, subsequently sound installations, sound sculptures and work with ultraviolet light. Numerous grants and awards, such as Award of the German Industrial Association (BDI), composition grant of the city of Berlin, Carl Djerassi Honorary Fellowship, IASPIS Stockholm. Since 1974 solo exhibitions in Europe, USA, Australia, Japan and South America. Participation in international festivals and group exhibitions such as : Pro Musica Nova, Bremen 1976 /1980, Für Augen und Ohren, Berlin 1980, Biennale of Venice, 1980 / 1982, Gaudeamus Music Festival 1984, documenta 8, Kassel 1987, Ars Electronica, Linz 1987, Steirischer Herbst, Graz 1987, Biennale of Sydney 1990, Donaueschinger Musiktage, 1993 /1997, Prison Sentences, Philadelphia 1995, Sonambiente, Berlin 1996, in medias res, Istanbul 1997, festival d'art sonor, Barcelona 1999, Sonic Boom, London 2000, Visual Sound, Pittsburgh 2001, Singuhr-Hörgalerie, berlin 2002. Christina Kubisch is a professor of sculpture and audio/visual arts at the Academy of Fine Arts, Saarbrücken, since 1994 and a member of the Akademie der Künste Berlin since 1987.She lives in Berlin. Christina Kubisch belongs to the first generation of sound artists. Trained as a composer, she has artistically developed such techniques as the magnetic induction to realize her sound installations. Since 1986 the artist has added light as an artistic element to her work with sound. Christina Kubisch's work displays an artistic development which is often described as the "synthesis of arts" - the discovery of acoustic space and the dimension of time in the visual arts on the one hand, and a new relationship between material and form in music on the other.

CLAUDIO ROCCHETTI

avant jazz / grind / musique concrete / psychedelic / abstractism / electroacoustic / sound art / concrete turntablism / harsh / drone music

Born in Bozen ( Italy ) in 1976. After experiencing the straight-edge hardcore scene, he began exploring the many realms of noise. He played his "destructive" djing within the group/label/collective Sonic Belligeranza. Rocchetti is now working on the composition of cinematic musical landscapes with the aid of old rare records, dusty analogue instruments as source material (old radios, customized turntables, grammophones...). From 2002 is founding member of: 3/4 Had been Eliminated.

CLAUSTHOME

musique concrete / radionoise / abstractism / ambient music / electroacoustic

Clausthome is a group of musicians and artists based in Riga who aims to analyse several new directions of the music subculture, while experimenting and participating in the field. Clausthome is mainly working with 'electronic space-dark ambient' and 'techno-noize' or 'drum&noize' that is based on 'tribal' style synthesis. They use radio (ether) structure, data gathered by radio telescopes and archives of universe research data servers. This information, processed through sound alteration programs is used as the starting point of and base for future materials, when in live performances through mixing and synthesizing they create sound environment. The name 'Clausthome' describes as an open experimentation phase, where these authentic audio samples are used without specific processing, and without making any references to the source they come from. It is a process of translation and transformation that leads towards awareness of that potential environment, which can be created using the gathered material. 'Claustrum' is the label, which refers to this final stage - when the musicians have formulated the material and created their original music. It is a sort of synthesis of this longer period of processing, when the musicians have formed and created all samples by themselves.

CONTAGIOUS ORGASM

musique concrete / abstractism / electroacoustic / field recordings / noise

Hiroshi Hashimoto is active since 1987, Japan 's Contagious Orgasm has been active in many intersecting and diverse areas of experimental electronic music, including noise, industrial, rhythmic noise, and ambient.

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

CURATED BY: NUB PROJECT SPACE | PIETRO RIPARBELLI AND ALESSIO BALLERINI

sound installation / abstractism / ambient music / acousmatic / minimalism / avant-garde / electroacoustic / field recordings / sound art / experimental / drone music

Nub è una associazione culturale no-profit attiva a Pistoia dal 2010; da settembre 2013 ha spostato le proprie attività a Prato. 
Propone una attenta programmazione di eventi e performance in genere legati alla ricerca sonora ed alla musica sperimentale, ospitando artisti italiani e stranieri.
Nub nasce dalla volontà di uscire dalla sterilità degli schemi culturali attuali, per riappropriarsi di un modo di intendere la cultura che, attraverso l’analisi di situazioni performative, laboratoriali o di scambio intellettuale, possa far nascere una reale consapevolezza di appartenenza al presente.
Nub è un progetto completamente autofinanziato e indipendente, libero da logiche istituzionali e commerciali.
Nub è un progetto di Federico Fiori e Francesca Lenzi.

DALOT | MARIA PAPADOMANOLAKI

abstractism / minimalism / avant-garde / electroacoustic / sound art / experimental

Maria Papadomanolaki is a Greek sound artist, curator and author, currently based in New York City. She works within the fields of experimental and electro-acoustic composition, including sound design for dance and video, field recording, telematic performance, installation and radio art. Papadomanolaki aims to establish a refined relationship with space, memory and identity through the many different manifestations of sound as a source material, a carrier of a dense network of information, an aesthetic intervention, a physical or ethereal trigger and a form of detritus or novelty and re-evaluation, just to name a few primary ones. Her work is also characterized by the notions of participatory understanding and exploration of shared experiences and surrounding environments, as well as the sonification of textural and material peculiarities such as the hidden life of surfaces and urban architectural structures. In the past, she has worked extensively on text-based soundpieces and on the idea of expanding a written text in space through the use of interactive music software; a field that she often revisits. Her collaboration with the NY State-based non-profit arts organization free103point9, has led her to a series of important realizations about the shape and nature of radio and transmission as platforms of artistic expression and experimentation; a line of thought rooted back in 2008 while pursuing her studies in sound art and working as a volunteer sound engineer for a community arts radio station (Resonance FM) in London. Her work has been exhibited and featured internationally at a variety of galleries, institutions and events, such as the 7000IS International Experimental Short Film Festival (Iceland, 2007), the Sunrise Festival (Sommerset, UK, 2007), the Athens Video Art Festival (Athens, GR, 2008), the IMT Gallery (London, UK, 2008), the National Review of Live Art (Glasgow, UK, 2009), the Ontological-Hysteric Theatre at St. Mark’s Church (New York, USA, 2009), Cabinet Magazine’s Gallery Space (New York, USA, 2010), Flushnik Studios (New York, 2010), the DHRA Conference (London, UK, 2010), the Center of Mediterranean Architecture/K.A.M. (Chania, Greece, 2010), the Niu Arts Space (Barcelona, Spain, 2011), the SKUC Gallery (Ljubljana, Slovenia, 2011) among others. She has produced experimental radio pieces and exhibits, as well as standard-form radioshows which have been featured in a variety of radio stations such as Resonance FM (London, UK), WGXC (Acra, NY), Radio Campus Paris (France), Sound Art Radio (UK), Radio One 91FM (Dunedin, New Zealand), CFRO Vancouver Co-operative Radio (Canada) and Cooradio (Thessaloniki, GR). As a researcher and writer, she has produced work that has been published and presented at international conferences. Her paper “Radio as the voice of community, locality, interactivity and experimentation”, presented at the ECREA Radio Research Section 2009 conference, has been published in the volume ”Radio Content in the Digital Age: The Evolution of a Sound Medium” (Intellect Books, 2011). She is also the co-author of the book “Transmission Arts: Artists and Airwaves” (PAJ Publications, 2011). She has received awards and fellowships by the Nagoya University of the Arts (2007), the Schilizzi Foundation (2007) and the Alexander S. Onassis Public Benefit Foundation (2008). She holds an MA in Sound Art from the London College of Communication at the University of the Arts London.

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!

DARK MATTER

Alias: KASPER T. TOEPLITZ / ANTOINE CHESSEX

avant jazz / psychedelic / modern composition / electroacoustic / sound art / experimental / drone music

DARK MATTER are Kasper T. Toeplitz bass, computer, tam; and Antoine Chessex sax, electronics.

DISTURBANCE

avant jazz / psychedelic / abstractism / ambient music / electroacoustic / field recordings / noise

Disturbance is a side project of Francesco Landucci, founder of TILAK. Polyinstrumentist, guitar and sitar player, traditional folk music researcher, producer, sound engineerer programer and experimental electroacustic and electronic musician.

DJET

abstractism / ambient music / electroacoustic / field recordings / noise

EDITH ALONSO

musique concrete / modern composition / abstractism / ambient music / minimalism / avant-garde / electroacoustic / field recordings / sound art / experimental / noise / drone music

Edith Alonso
Composer, pianist, and sound artist born in Madrid. Electroacoustic and instrumental composition studies in Paris. PhD in arts, sciences and technologies at University Saint-Denis-Vincennes (Paris) and University Complutense (Madrid). She won the SACEM price at the end of her electroacoustic composition studies, and received grants of the French Ministry of Research and the Spanish Ministry of Foreign affaires.

As a composer she received several distinctions and prizes: winner of Madrid Abierto competition 2008, honorable mention in Pauline Oliveros Prize 2010, nominated in the Prix Europe competition 2009, and honorable mention in the Hablar en Arte competition 2009. She has been commissioned by RNE (Spanish National Radio) and CDMC (Center for contemporary music, Spain) and she has also represented Spain in the TIME (International Tribune of electroacoustic music of UNESCO).

Her compositions have been performed at numerous international festivals, including the International Computer Music Conferences of Belfast and Montreal, the XXIV Festival de Alicante de Música Contemporánea, SIMC (Paris), Synthèse (Bourges) and others in Portugal, Spain, Columbia, Argentina, Germany, Sweden, South Korea, Cuba, Costa Rica, and Mexico. She has also collaborated with other media, including film and dance, as well as sound installations.

FABIO ORSI

Alias: GREY HISTORY

minimalism / avant-garde / electroacoustic / field recordings / experimental / noise / folk / drone music

Fabio Orsi is an electronic musician from Taranto (Southern Italy) specialising in atmospheric drone. He is a young and talented composer recently revealed in a series of publications received by an enthusiastic chorus of critical approval. In his compositions the languages of popular tradition meet the avantgarde approach, creating an original and charm mix. Orsi’s music originates with field recordings through which he seeks to capture images in sound inspired by the historic pre-war folk recordings made by Alan Lomax .

FRANCESCO CALANDRINO

avant jazz / musique concrete / abstractism / ambient music / expressionism / minimalism / avant-garde / electroacoustic / field recordings / experimental / collage art / noise / drone music

Francesco Calandrino | Iritur'aràrcamu

FRANCISCO LOPEZ

musique concrete / sound installation / psychedelic / modern composition / abstractism / ambient music / acousmatic / minimalism / avant-garde / electroacoustic / field recordings / sound art / experimental / contemporary art / nonmusic / conceptual art / drone music

Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. Over the past 30 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. Over the last twenty years Francisco López has been developing a powerful and consistent world of minimal electroacoustic soundscapes, 'trying to reach an ideal of absolute concrète music'. To date, his catalog comprises more than 140 sound works, which have been released by one hundred record labels from Spain, France, Italy, Germany, The Netherlands, Switzerland, Poland, Austria, UK, Norway, Greece, Russia, Canada, USA, Mexico, Puerto Rico, Argentina, Japan, China, Australia. He has toured extensively throughout Western and Eastern Europe, North, Central and South America, Japan and Australia doing acousmatic performances, and he has received commissions from a number of reknown institutions and organizations, such as the Dutch and Spanish National Radios, the Goethe Institut, V2 Organization (Rotterdam), Yale University Theater (New Haven), the Ralph Lemon Company (New York), the Zeitkratzer Ensemble (Berlin), Creative Time (New York), Quartier Ephemere (Montreal) and Sound Traffic Control (San Francisco).

GIANLUCA BECUZZI

Alias: LIMBO / GREY HISTORY / KINETIX

video art / visual art / musique concrete / sound installation / esoteric / abstractism / ambient music / acousmatic / minimalism / avant-garde / electroacoustic / field recordings / sound art / experimental / collage art / noise / contemporary art / folk / constructivism / site specific / glitch / conceptual art / industrial music / drone music

Gianluca Becuzzi (born 1962, Piombino-Italy) is an electronic / electroacoustic composer and sound artist active since the first half of the 80’s. He released many albums and performed live around Europe during the last three decades under various names. Since 1999, his artistic production is characterised by a strong experimental imprint, by the interest into the expressive possibilities offered by the technologies and by a clear aesthetic inclination towards abstract forms and micro / macro noises / sounds. He deals with electronic / electroacoustic composition, sound art, audio installations, ambient post-scorings and sound design. The relationships between art and science, between audio and visual-spatial forms, as well as between composition and self-generative processes represent the main themes in my sonological research. Among the artistic productions of the latest years, in addiction to the experimental works under his own name, we have to mention also his solo works as Kinetix, the records in duet with Fabio Orsi, the electro-post-punk project Noise Trade Company and the harsh-power-noise productions as Greyhistory, plus several other collaborations with musicians, theatre companies and videoartists from the experimental area. PROJECTS: LIMBO (1984-2001) SAINT LUKA (1988-1992) MATAFORM (1995-1996) KINETIX (1999-2010) GIANLUCA BECUZZI (2006-Today) GIANLUCA BECUZZI FABIO ORSI (2006-Today) NOISE TRADE COMPANY (2008-Today) GREY HISTORY (2010-Today)

GLOBSTER

abstractism / minimalism / avant-garde / electroacoustic / sound art / experimental / concrete turntablism

Dj e manipolatore di suoni, comincia nel 1991 mixando musica elettronica presso alcune emittenti radiofoniche locali. Nel 1997 con Dj EML forma i BPAM progetto di musica ambient-isolazionista. Nel 1999, dall'incontro con il programmatore e sviluppatore di software CERIN0 , nascono tre progetti musicali: TECHNOTONER (techno suonata in tempo reale con strumenti analogici), GLI ELETTRODI e UNIT (elettronica sperimentale). Nei suoi dj set, Globster spesso si è fatto affiancare da musicisti e ospiti: PINO SILVERI (voce), LEX LUTHOR (chitarra), PINO PETRACCIA (percussioni). Recentemente ha iniziato collaborazioni musicali per danza e teatro contemporaneo: con il gruppo ALHENA e Alessandra La Spada (danza); con l'ATELIER ESPACE ed il gruppo TEATRO ACCANTO (teatro). Altre collaborazioni musicali sono nate con i PERIZONA (rock sperimentale) ; DNA (cross over); con il violinista DIEGO CONTI nello spettacolo “Pescara resiste”; con il chitarrista LUIGI MELONI nel progetto ACORN (ambient);con il chitarrista STEFANO D'EMILIO nel duo PROSPECT (improvvisazione); con OTOMO YOSHIHIDE in occasione di un concerto tenuto nel 1998 all'Alternative Pub di Roccamorice (PE); con EUGENE CHADBOURNE l'anno successivo nel medesimo luogo. Globster è sempre stato interessato all'arte visuale ed ha realizzato alcune ri-musicazioni di film muti: “Nanook of the north” (con i BPAM) presentato al festival di Ri-musicazioni Harlock di Bolzano, al 13° festival Underground Kab Usine a Ginevra ; “ Il gabinetto del dottor Caligari” (con gli Acorn) presentato al Kabala Jazz Club di Pescara, “Isofromatem”, “Crudeliter” e “Diario di una lavatrice” cortometraggi di Andrea Malandra presentati nella rassegna PrimoTempo al teatro Ex-Alici di Spoltore (PE) e al Festival Internazionale del Cortometraggio di Pescara; “Duetto metropolitano” del regista Fabrizio De Bartolomei, trasmesso sull'emittente nazionale La 7; e per lo stesso regista “Ger to ger”.

GNAW THEIR TONGUES

Alias: ADERLATING

black metal / abstract symbolism / weird black metal / avant-garde / electroacoustic / experimental / noise

Mories : All instruments

GRAUEN PESTANZ

Alias: CORPUS PRINCIPIUM

performative art / esoteric / black metal / abstractism / ambient music / avant-garde / electroacoustic / experimental / noise / ritual dark ambient

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

IVES 1

avant jazz / grind / musique concrete / psychedelic / abstractism / avant-garde / electroacoustic / experimental / noise

Ives#1 is a project founded in 2007 by Michael Wertmuller (Alboth, Peter Brotzmann Trio) - vox Marino Piaklas (Steamboat Switzerland, Peter Brotzmann Trio) - bass Thomas Mahmoud (ex Von Spar, Oliver Twist Conspiracy) - drums Gerd Rische - electronics In the early 90s, Swiss drummer Michael Wertmuller and his band Alboth! (that was occasionally produced by Kevin Martin of God, Techno Animal, The Bug) made a benchmark exploration of new terrain somewhere between Metal, Free Jazz and Noise. In the meantime the classically trained multi-instrumentalist plays in Free Jazz trumpeter Peter Brotzmann’s Trio and is a much sought after composer, whose works are performed at major New Music festivals. Amongst other things he’s collaborated with Wolfgang Hilbig and composed pieces for the legendary Peter Brotzmann Chicago 10tet and for bassist Marino Piaklas’ formation, Steamboat Switzerland. Thomas Mahmoud used to be lead vocalist with the Cologne band, Von Spar, with whom he created a surprising, innovative amalgam of Post-Rock, Indiepop and Prog-Rock before leaving the band after its second album. Mahmoud’s primary interest since launching his solo project, Softgod has been electronic and electro-acoustic music. During a joint artists-in-residency sojourn at the Berlin Academy of Fine Arts, Wertmüller and Piaklas met Gerd Rische, a musician and director of the Academy’s electronic studio. After Wertmüller had participated, at Thomas Mahmoud’s invitation, in the latter’s adaptation of an old Dada screenplay, "Der Pleitejazz" by Paul van Ostaijen, he invited Mahmoud to join in rehearsals with Piaklas and Rische at the Academy.

JOACHIM MONTESSUIS

Alias: SNOW CRASH

grind / musique concrete / performative art / actionism / abstractism / body art / avant-garde / electroacoustic / field recordings / power electronics / sound art / experimental / noise / contemporary art / nonmusic / abstract expressionism / harsh / drone music

Joachim Montessuis develops an experimental contextual practice mainly around voice, drone, noise and resonance since the early 90′s. His current work is directed towards conceptual experimental processes of the issue of observation and perception of reality through a non-dual approach. His vocal performative work explores various states of trance through the extreme potentialities of amplification and electronic transformations of screams, throat singing, and also words. He designs his actions as processes, “noise poetry-codes reality fertilizers”.
He has shown his work in many festivals around the globe (more than 200 performances) and he has collaborated with more than 100 artists. He also is the editor of the CD label Erratum devoted to art, noise and experimental sound poetry – which he started in 1993. He occasionally curates experimental poetry events and exhibitions. He lives in Paris and teaches sound and intermedia art at HEAR in Strasbourg.

Collaborations with very different artists including Henri Chopin, Charlemagne Palestine, Phill Niblock, Maja S. K. Ratkje, Serge Pey, Master Musicians of Joujouka & Frank Rynne, Junko Hiroshige, Michel Giroud, Gaël Segalen, Julien Blaine, David Larcher, Joël Hubaut, Jörg Piringer, Franck Ancel, Julien Ottavi, Evil Moisture/Andy Bolus, Bryan Lewis Saunders, Horia Cosmin Samoïla, Collectif MU (Paris), Erik Minkkinen, Philippe Simon, Marcello Aguirre, Gomang’s Tibetan Monks, Yvan Etienne, Faustin Linyekula, Ewen Chardronnet, Marko Peljhan, Shu Lea Cheang, Martin Howse, Claudia Martinho, Aymeric de Tapol, François Martig, Wilfried Wending, Tashi Ko, Anne Roquigny, Pierre André Arcand, Eléonore Hellio, Jean Jacques Lebel, Charles Pennequin, Chloé Delaume, Raphaël Charpentié, Gaël Angelis, Cédric Pigot, Crium Delirium, Gigacircus, Michel Collet, Valentine Verhaeghe, Matthieu Messagier, Louis Ucciani, Sylvain Courtoux, Emmanuel During, Antoine Boute, Lucille Calmel, Thierry Théolier, Eric Lin Chiwei, Gigacircus, Philippe Zunino, Michaël Sellam, Nicolas Boulard, Philippe Lepeut, Hellekin…

JOHN BLADES

Alias: THE LOOP ORCHESTRA

spoken word / musique concrete / psychedelic / avant-garde / electroacoustic / sound art / experimental / abstract surrealism / fluxus

John Blades is the founder member of the group THE LOOP ORCHESTRA. 02 Dicember 011 The Australian experimental music community lost one of its finest last Friday when John Blades passed away due to complications associated with cancer. John was best known as a founding member of The Loop Orchestra, the long-time host/producer of the Background Noise radio program , and a tireless supporter of experimental musicians and sound artists around the country. Outside of music, John advocated for people with disabilities (he was diagnosed with MS in 1982) in many ways, most memorably in his Walkley Award-winning radio documentary “The Too Hard Basket” about sexuality and the disabled. John was one of the rare people I’ve met who I know pretty soon that I am privileged to have crossed paths with. His severe disability could not conceal his keen intelligence and broad knowledge of the arts, his humour, and most of all a positive energy and enthusiasm that he brought to his work. Listen to his fantastic radio doco “The Too Hard Basket” and you’ll get an idea of what I mean. If anyone in this world had something to be down and self-pitying about, it was John, who struggled for years with MS, only to finally succumb to cancer. His last email of a few weeks ago, informing his friends of his grim prognosis, agreed with what we all thought – ‘it wasn’t fair’. Yet he was still warm and positive, holding out hope for a final experimental treatment. We come across so many negative, self-pitying people – none of them have had the trials John did, and yet he was one of the most positive, enthusiastic people I’ve ever known (even though he had had episodes with depression the past; very common for people with MS). His personal and professional support for my own work was significant and lifted my spirits on several occasions. I saw reports of John’s passing in social media on the weekend, but didn’t want to post anything here until I had something more official. Rik Rue rang me last night and asked that I inform Melbourne people who knew John, and pass on the details of the funeral service (Monday 5 December at Northern Suburbs Crematorium, Sydney). Even if we can’t attend, I’m sure those of us who knew John and/or were moved by his work, will spare a thought for him. Text by Rik Rue http://exp-melb.blogspot.com/2011/12/vale-john-blades.html

JULIAN BONEQUI

Alias: MATARRATAS / ULTRA SPIESSER

doom / avant jazz / grind / performative art / psychedelic / minimalism / avant-garde / electroacoustic / experimental / noise / constructivism / abstract expressionism / harsh / drone music

Julian Bonequi (born December 27, 1974 ) is a Mexican artist working mostly with Noise and Improvisation and 3d computer graphics[1] He plays the drums, and experiments with electronics and voice to create a rhythmic environment much richer in atmospheres and harmonic flow situations. He plays in the FOCO Orchestra, and create with Dave Tucker[2][3] and Ricardo Tejero the project Machinations of Joy Julian Bonequi established himself in Barcelona within the Spanish improvisation free jazz music scene since 2004, but has since also performed with a wide range of musicians working in diverse musical areas since he lived in Mexico. He has performed as guest with the London Improvisers Orchestra as electronic voice, attracted by the roots of free improvisation From 1995 to 2000 he participated in several projects of folklore, Rock in Opposition and psychodelia in Mexico City. Since 1995 he played in a lot of punk, psycodelia, stone rock and progressive rock projects, but always trying to give 100% importance to the freedom that improvisation gives to music. He played with Humus (band) that was founded in 1987 by Jorge Beltrán (guitar, keyboards) and Victor Basurto the full fledged bassist. Both of them, are formers musician of many other important Mexican bands, as Frolic Froth, Smoking The Century Away, Euphoric Darkness, Loch Ness and Semefo. Since 1997 Westminster became more or less the permanent drummer of Humus, who was preceded by Julian Bonequi (1998–2000) when Jorge Beltrán invited Bonequi to made important contributions to different albums(not yet released).[4][5] In 1999 he met Decibel (band).[6] Decibel were a rare exception to the prog acts of the 1978 period in Mexico, and were well versed in European groups such as Faust, Magma, Gong, and the Italian prog masters Il Balletto di Bronzo. The lineup centered around keyboardist Carlos Robledo and the bassist Walter Schmidt. So he found finally a place for improve his skills and experiment more. With them Julian Bonequi perform in the First International Festival of Progressive Rock in Mexico City, with Magma and Gong also in the program. And the next year, in March 2000 in a concert in the Museum Ex-Teresa Arte Actual in the historic centre of Mexico City, they celebrated the 25th anniversary and present the CD release named Fortuna Virilis, in addition to a retrospective with the work done since 1974. This concert is included in the three-disc box Fiat Lux, and it was the last time Decibel, this legendary Mexican band of Rock In Opposition play together without Javier Baviera, or Jaime Castaneda, but with Julian Bonequi on drums and Juan Carlos Ruiz on bassoon, former musician of Nazca, and leader of Culto Sin Nombre The same year, in 2000, the Israeli Label, MIO Records produced a 3-disc box called Fiat Lux. The complete recordings. 1977 - 2000, which contains all the studio albums of Decibel, and plus live material and rarities of unedited material. And a small booklet of 28 pages with pictures of the beginnings of the band. Also this box contained the 25th anniversary concert at Ex-Teresa Arte Actual. With Metaconciencia Julian Bonequi recorded the first album "Bestiario" in 2003 published by the French record label MUSEA Records. The critics received well this music work. A rhythm section perform a colourful and warm instrumental rock with multiple influences: Seventies Progressive rock, jazz-rock, Mexican music The music presented in Bestiario is quite intensive all of which is accompanied by quite an extraordinary drumming. Since 1995 he played in a lot of punk, psycodelia, stone rock and progressive rock projects, but always trying to give 100% importance to the freedom that improvisation gives to music. He played with Humus (band) that was founded in 1987 by Jorge Beltrán (guitar, keyboards) and Victor Basurto the full fledged bassist. Both of them, are formers musician of many other important Mexican bands, as Frolic Froth, Smoking The Century Away, Euphoric Darkness, Loch Ness and Semefo. Since 1997 Westminster became more or less the permanent drummer of Humus, who was preceded by Julian Bonequi (1998–2000) when Jorge Beltrán invited Bonequi to made important contributions to different albums(not yet released).[4][5] In 1999 he met Decibel (band).[6] Decibel were a rare exception to the prog acts of the 1978 period in Mexico, and were well versed in European groups such as Faust, Magma, Gong, and the Italian prog masters Il Balletto di Bronzo. The lineup centered around keyboardist Carlos Robledo and the bassist Walter Schmidt. So he found finally a place for improve his skills and experiment more. With them Julian Bonequi perform in the First International Festival of Progressive Rock in Mexico City, with Magma and Gong also in the program. And the next year, in March 2000 in a concert in the Museum Ex-Teresa Arte Actual in the historic centre of Mexico City, they celebrated the 25th anniversary and present the CD release named Fortuna Virilis, in addition to a retrospective with the work done since 1974. This concert is included in the three-disc box Fiat Lux, and it was the last time Decibel, this legendary Mexican band of Rock In Opposition play together without Javier Baviera, or Jaime Castaneda, but with Julian Bonequi on drums and Juan Carlos Ruiz on bassoon, former musician of Nazca, and leader of Culto Sin Nombre The same year, in 2000, the Israeli Label, MIO Records produced a 3-disc box called Fiat Lux. The complete recordings. 1977 - 2000, which contains all the studio albums of Decibel, and plus live material and rarities of unedited material. And a small booklet of 28 pages with pictures of the beginnings of the band. Also this box contained the 25th anniversary concert at Ex-Teresa Arte Actual. With Metaconciencia Julian Bonequi recorded the first album "Bestiario" in 2003 published by the French record label MUSEA Records. The critics received well this music work. A rhythm section perform a colourful and warm instrumental rock with multiple influences: Seventies Progressive rock, jazz-rock, Mexican music The music presented in Bestiario is quite intensive all of which is accompanied by quite an extraordinary drumming.

JULIEN OTTAVI

Alias: SNOW CRASH

abstractism / abstract symbolism / minimalism / avant-garde / electroacoustic / sound art / experimental / conceptual art

Julien Ottavi aka FORMANEX, aka THE NOISER, is part of the sound/activist collective APO 33 in Nantes, has moved recently to London where he has set up up a media lab in the artist space Area 10. APO 33 produced the GNU/Linux audio-media distribution Apodio, which is the one that Julien uses. Ottavi is likely the most intense laptop performer, always ready for new challenges and finding new ways of experimenting and this new work is a continuation of his extreme engagement in sound. Since 1997, he develops a composition work on the voice and its transformation by computer. Active developper of audio/visual programs with Puredata, he has also developed since many years DIY electronics (radio transmitters, oscillators, mixers, amplifiers, video transmitters...etc) in the perspective of knowledge sharing on technological development. Main developper for the Gnu/Linux operating system APODIO for digital art and A/V & streaming manipulation http://www.apodio.org His practices is not limited to the art spheres but crosses different fields from technological development to philosophy research, biomimetic analysis & experimentation. Since many years he reflects on the relations between experimental practices and collective practices within the creation of autonomous collective groups, putting in question the authorship strategy of the “art ideology”. As a sound composer he works on « programmatic compositions », producing computer series of solos : “Nervure Magnétique” - “séries du bruit blanc et rose” , « série métapercussions » “étudesauxhertz” ...(concerts in Europe - 2000/2001, United states 2002/2003/2005). Develops all his researsh with computer and Puredata software and Gnu/Linux operating system. - For these series, he works with some limited sound materials (noise, frequencies, sinus, percussions samples...etc) and uses the computer as an instrument to play music and modify space. -founders and member of FORMANEX, electroacoustic quatuor of chamber music from XXe and XXIe century, which plays graphic scores and others kind of scores from composers like Cornelius Cardew, John Cage, Christian Wolf, Morton Feldman, Earle Brown, Jerome Joy, Kasper T. Toeplitz, Ralf Wehowsky… etc. -Founder, artistic programmer, audio/video computer researcher (network and audio research) and mix-media artist of APO33: Art, technology and research laboratory based in Nantes working in the fields of sound art, free software, collaborative practices, micromedia and urban and environmental mutations. It is at the initiative of several collective projects linking research, experimentation and intervention in social contexts. APO33 develops several activities : creation to facilitate the development of experimental sound creation practices. APO33 with its own CIA (Cell for Intervention in Art/apo33), created a collective for sound/radio creation (artistic research, participation in festivals, residences, publications...). Technological Research on digital tools (web-radios, server networks, collaborative plate-forms...) and electronic devices. Theoretical research (organizing seminars, colloques, workshops with an interdisciplinary approach). Educational activities (teaching and workshops). Diffusion, Apo33 frequently invites artists from all over the world to present their work, set up collaborations or exchanges.

K11

Alias: PT-R | PIETRO RIPARBELLI / PIETRO RIPARBELLI / KAULA / MACABRE / SACRAMENTAL CEREMONY / TELE.S.THERION

doom / musique concrete / psychophonia / electronic voice phenomena (evp) / transcommunication / esoteric / radionoise / abstract symbolism / suprematism / acousmatic / weird black metal / minimalism / avant-garde / electroacoustic / sound art / experimental / noise / nonmusic / ritual dark ambient / conceptual art / drone music

Pietro Riparbelli is a philosopher, composer and sound-multimedia artist. Co-curator and executive producer of the meta-curatorial practice platform "Metasound", spin-off of the publisher Radical Matters - Editions / Label directed by SG, to investigate the dimension between music and contemporary art: http://www.radicalmatters.com/metasound Artist Statement: My work arises from the study of the Phenomenology of perception with particular reference to the dichotomy between Visible/Invisible strictly connected with the studies about the concept of sound landscape. About the environmental works I usually make a deep investigation of particular places, making recordings like field recordings or recordings of signals from short wave radio receivers and VLF receivers, in order to compose conceptual works about the selected sites; together with a deep study about the history of the place on which I’m working on. I’m interested in reconfiguring the sound panorama through its transcendental aspects to create a dimension that is not only sound but mainly a total perceptive dimension that bring ourselves to find out a new kind of perception. I realize works as PIETRO RIPARBELLI especially related to the world of Contemporary Art. So each work arise from a conceptual idea turned into sound. The field in which I principally work is linked to the perception of the sound landscape and to the perception of inner states of consciousness related to other dimensions of awareness. K11 is a project that deals with the world of radio signals, the trans-communication and other invisible phenomena, to create a dimension where the only sound sources are signals from shortwave radio receivers and field recordings taken from very specific locations. In this project I use only sounds coming from the atmosphere and from invisible places turned into fields of drone with particular interest into the study of the dynamics of Noise. 



KASPER T. TOEPLITZ

Alias: DARK MATTER

avant jazz / musique concrete / modern composition / abstractism / ambient music / acousmatic / minimalism / avant-garde / electroacoustic / sound art / experimental / conceptual art / drone music

Composer, electric bass player and musician who has developed his work in the no man's land between "academic" composition (orchestra, ensembles, opera) and electronic "new music" or "noise music". Has won several prizes and distinctions ; 1st prize for orchestral composition at the Besançon Festival, 1st prize at the "Opéra autrement / centre Acanthes" competition, Villa Médicis Hors les Murs (New York), grant Leonardo da Vinci (San Francisco) , Villa Kujoyama (Kyoto), DAAD (Berlin). Got numerous commissions from the French Governement, the radio and from electronic studios such as Ircam, GRM , GMEM, CRFMW, EMS.. Works with experimental or unclassifiable musicians such as Zbigniew Karkowski, Tetsuo Furudate, Dror Feiler, Art Zoyd, Eliane Radigue, Phill Niblock, Ulrich Krieger, Stevie Wishart, Z'ev, others…….. Some of his long-term groups or projects are LE DEPEUPLEUR (with Zbigniew Karkowski), KERNEL (a trio of computer players), Basstaarang (with Philippe Foch playing taarang), Ephémérides (bass & image by Strom Varx) Has definitively integrated the computer into the very heart of his work, as a tool of thought and composition, and as a live instrument, hybridising more traditional instruments if necessary, or working on the sheer electronic noise.

KINETIX

Alias: GIANLUCA BECUZZI

sound installation / abstractism / ambient music / minimalism / avant-garde / electroacoustic / sound art / experimental / glitch / drone music

Since early 1999, KINETIX is the new moniker of Gianluca Becuzzi, electronic / electroacoustic composer and sound artist active since the first half of the 80's (LIMBO, PANKOW, KIRLIAN CAMERA). He released many albums and performed live around Europe during the last two decades under various names. The artistic production of KINETIX is characterised by a strong experimental imprint, by the interest into the expressive possibilities offered by the digital technologies and by a clear aesthetic inclination towards minimalist forms and micro noises/sounds. KINETIX deals with electronic / electroacoustic composition, sound art, audio installations, ambient post-scorings and sound design. The relationships between art and science, between audio and visual-spatial forms, as well as between composition and self-generative processes represent the main themes in the sonological research of KINETIX.

L'ACEPHALE

black metal / abstractism / avant-garde / electroacoustic / experimental / folk / ritual dark ambient / conceptual art

Their name is taken from an early 20th Century European philosophical movement but accusations of intellectual or fake metal may be the least of L'ACEPHALE's worries. Portland, Oregon's L'ACEPHALE's sound draws on influences including neo-folk band Death in June and the Ukraine's Hate Forest, both of whom are allegedly "Ripped on Fascist Ideas". Add to that choral passages appropriated from Orthodox Christian composers like Gorecki and Arvo Part, and you can see why they are a more intriguing proposition than the ideologically confused caustic mush that passes for much modern Black Metal. Founding Member Set Sothis Nox La guides us through his complex project.

LIMBO

Alias: GIANLUCA BECUZZI

ambient music / electroacoustic / sound art / experimental / abstract surrealism / ritual dark ambient / industrial music / drone music

LIMBO was an influential eclectic music project created in January 1984 by the Tuscan artist Gianluca Becuzzi - still one of the most important personalities on the Italian electronic / electro-acoustic and experimental scenes. Since 1984 LIMBO has released twelve full length and four mini-albums. They also appeared on various compilations and performed live many times in Italy, Germany, Switzerland and Austria. Over the years, LIMBO frequently changed record labels, line-ups and musical styles, but always maintained strong dark and electronic elements. Characteristic of the band’s whole artistic approach was its exploration of rhythm / timbre, as well as the highly dramatic mood created by both the sound and the themes examined (i.e. technology and mysticism, science and neo-primitivism, thanatology and extreme erotic practices). The aesthetic quality, its conceptual and formal coherence and the continuity of its developed languages, all helped to create the “cult” status that still surrounds the name LIMBO on the international underground circuit. In September 2006 the re-born Spittle Records (the Tuscan label which originally released the debut mini-LP "IN LIMBO" back in 1986) asked the disbanded LIMBO if they could release all the band’s early material, including its first demo-tape, its first mini-LP and a small collection of tracks that have resurfaced from within the label’s vaults. Spittle's inquiry results in "Early Works (1984-1987)", a double-CD including a digitally re-mastered and polished version of the the whole musical production of LIMBO in its early years.

LUCIANO MAGGIORE

abstractism / ambient music / avant-garde / electroacoustic / sound art / experimental / noise / drone music

M-16 | ALESSANDRO BOCCI

abstractism / ambient music / electroacoustic / experimental / noise

Alessandro Bocci started singing in some local punk bands. His first experience with creating music was playing the turntables. Between 1990 and 1995 he worked as a dj in the early important electronic events in Italy. In 1991 he became a regular member of Starfuckers. He recorded his first cd in 1994 with Starfuckers. During 1993/1994 formed the M16, a free techno improvisation project together with Manuel Giannini and Roberto Bertacchini. In 2004 M-16 became a solo electronic project. He also worked as producer : Punkina, Sinestesia, Ricca ect. He is a sound engineer as well. He has carried out some eletronic and experimental performances, some of these are: Chants thermiques with Michael Moglia (Torino 1999), Sewing Machine System - Fabrizio Usberti (Bologna - Distorsonie 2002), Live for Sinaspi with Mike Dred (UK) – William Chelou (FR) – Strek Atzmo (IT) (Bologna - Distorsonie 2004). Alessandro Bocci's electronic techniques: Alessandro starts to use turntables in 1990. In the same year he introduces some standard electronic machines, such as analog synths and samplers, and unusual instruments like the wavemeter. Around 1995 he develops the resource of the mixer, so to use it as a proper instrument. He has been influenced by the writer William Burroughs' cut-up technique. He uses this technique to play the mixer and he uses sound and silence to create a primitive and percussive music. in 1998 he starts to use computer for electronic recording and electronic treatment.

MASONIC YOUTH

doom / performative art / abstract symbolism / avant-garde / electroacoustic / experimental / drone music

M.Y. founder members are Johnny van de Koolwijk, Marc Van Elburg. Image courtesy WOT4 RECORDS.

MASSIMILIANO VIEL

Alias: SIMM-EL

musique concrete / sound installation / modern composition / abstractism / ambient music / acousmatic / minimalism / avant-garde / electroacoustic / sound art / experimental / noise / constructivism / drone music

Massimiliano Viel attended studies in electronic music, orchestra conducting ethnomusicology and composition in Milano, Parigi, Salzburg, Odense with professor such as A. Corghi, M. Stroppa, K. Huber, B. Ferneyhough, K. Stockhausen, F.Donatoni and T.Murail. In 1989 he abandoned the performing activity with piano to pursue new sounds and performing techniques with the electronic keyboard.

As a keyboard player he collaborated with ensembles such as the Caput Ensemble 
from Rejkiavik, the Quartetto Arditti from London, MusikFrabrik from Düsseldorf and orchestras such as the Teatro alla Scala Orchestra from Milano, the WDR orchestra
from Cologne and the Orchestra of Paris, 
with whom he performed in all the most important theatres in Europe. In 1997 he performed K.Stockhausen’s "Klavierstuck XV" in Mercure Theatre of Montreal, Canada as a canadian premiere. He collaborated as interpreter and assistant with composers such as K. Stockhausen, L. Berio, L. Francesconi, A. Ingolffson, F. Romitelli and F. Guerrero.

At the same time he developed an aesthetic and technical research in musical composition, realising scores for acoustic and electronic instruments, from solo to full orchestra, performed in Europe, USA, Australia, Mexico, Indonesia and Egypt.
 As a result of his long time interest in the relationship between music and other expressive means, he realised a large number of performances in close contact with theatre, video and dance. In 2001 he started a collaboration with Otolab, one of the most worldwide known italian audiovisual team, with whom he created projects performed in the most important international festivals. I

n 2002 he founded Sincronie, an association devoted to explore the interactions between the western written music tradition and the manifold issues of contemporary culture. Sincronie produces events, an acoustic/electronic ensemble and research/didactic activities. As a natural and complementary activity to composition and production he never ceased to conduct a continuous practise of theoretical research and didactics. He holds the chair of “Composition for music didactics” at the "C.Monteverdi” Conservatory in Bolzano. He is PhD candidate at the Planetary Collegium M-Node, University of Plymouth, UK.

MASSIMO BARTOLINI

musique concrete / sound installation / abstractism / minimalism / avant-garde / electroacoustic / sound art / experimental / contemporary art / conceptual art / drone music

"Ho cercato di rendere praticabile l'immaginazione. Sto cercando di rendere praticabile l'immaginazione. Per praticabile intendo poterci portare anche il corpo, nel piano dell'immaginazione intendo”

MATARRATAS

Alias: JULIAN BONEQUI / JULIAN PERCY

doom / avant jazz / psychedelic / modern composition / abstractism / ambient music / avant-garde / electroacoustic / experimental / noise / harsh / drone music

MATARRATAS are: Julian Percy and Julian Bonequi

MAURIZIO BIANCHI / M.B.

death ambient / abstractism / ambient music / minimalism / electroacoustic / experimental / noise / nonmusic / harsh / industrial music

Maurizio Bianchi (December 4, 1955 in Pomponesco in the Province of Mantua) is an Italian pioneer of noise music, originating from Milan. Bianchi began to produce music in 1979, and since 1980 has used electronic equipment with the avowed goal "to produce technological sounds and in such a way to work on complete realising of the modern decadence". In the beginning, he published tapes under the alias Sacher-Pelz. In 1981, William Bennett, head of the band Whitehouse and the British Come Org. label, offered Bianchi a record contract, which Bianchi signed unchecked. It was based on a "joke contract" that Steven Stapleton of Nurse With Wound had sketched. The contract assumed all rights to Bianchi's work. After delivery of the tapes Bennett edited-in speeches by Nazi leaders, and instead of the relatively unsensational name MB, it was published under the alias Leibstandarte SS MB, named after the SS unit that worked as bodyguards to Adolf Hitler. Bianchi became religious and withdrew from the music business. Much of his work is sought today by collectors, especially as they appeared in extremely small editions. In 1998, encouraged by Alga Marghen label head Emanuele Carcano, who offered him a label of his own, Maurizio Bianchi started again to make music. The label is EEs'T Records, through which he released new editions of all old MB albums, as well as many new releases. Therefore, since 1997, he was back on the underground scene, working on several projects both in solo or in collaboration with other Italian artists (Giuseppe Verticchio/NIMH, Arnaldo Pontis and Corrado Altieri/TH26, Davide Femia/MDT, Saverio Evangelista, Matteo "Hue" Uggeri/Sparkle in Grey, Emanuela De Angelis and Eugenio Maggi/Crìa Cuervos) and international (Klaus e Danijela Jochim/Telepherique, Sandro Kaiser/Frequency In Cycles Per Second, Akifumi Nakajima/Aube, David van Ravesteijn/Land Use, Siegmar Fricke, Nobu Kasahara e Hitoshi Kojo, Maor Appelbaum, Jozef Van Wissem, Craig Hilton, Philip Julian/Cheapmachines).

MECONIUM

Alias: AA.VV. | STARING AT THE WALL III / POSEITRONE | LUCA DI DATO

avant jazz / musique concrete / performative art / psychedelic / abstractism / electroacoustic / experimental / noise / harsh

Meconium are: L. Nascitari and L. Poseitrone.

MEM1

abstractism / ambient music / minimalism / electroacoustic / experimental / drone music

MEM1 are: LAURA CETILIA (cello + electronics) and MARK CETILIA (analog modular + electronics).

Mem1
Mem1 seamlessly blends the sounds of cello and electronics to create a limitless palette of sonic possibilities. In their improvisation-based performances, Mark and Laura Cetilia's use of custom hardware and software, in conjunction with a uniquely subtle approach to extended cello technique and realtime modular synthesis patching, results in the creation of a single voice rather than a duet between two individuals. Their music moves beyond melody, lyricism and traditional structural confines, revealing an organic evolution of sound that has been called "a perfect blend of harmony and cacophony" (Forced Exposure).

Founded in Los Angeles in 2003, Mem1 has traveled extensively, performing at Issue Project Room, Roulette, REDCAT / Disney Hall, Los Angeles Contemporary Exhibitions, Electronic Church (Berlin), the Laptopia Festival (Tel-Aviv), the San Francisco Electronic Music Festival, and the Borealis Festival (Bergen). They have taken part in residencies at Harvestworks in New York, STEIM and Kunstenaarslogies in the Netherlands and USF Verftet in Bergen, Norway. In 2009, they created Visiting Hours, a site-specific installation for the Museums of Bat Yam (Israel); in Winter 2012, they travelled to London to create Visting Hours II, a site-specific installation for the Sonic Arts gallery SoundFjord. Their collaborative works with media artists Liora Belford and Kadet Kuhne have been screened and installed at venues including the Institute for Contemporary Art (London), the Hordaland Kunstsenter (Bergen), the Sundance Film Festival, and the Yerba Buena Center for the Arts (San Francisco). Throughout their career, they have collaborated with a variety of artists including the Penderecki String Quartet, Steve Roden, Jan Jelinek, Frank Bretschneider, and Stephen Vitiello. Age of Insects, a full-length album with Vitiello, is now available through Dragon's Eye Recordings. Together, Mem1 curates the experimental music series Ctrl+Alt+Repeat and the record label Estuary Ltd.
 

MERZBOW

avant jazz / musique concrete / psychedelic / modern composition / abstractism / ambient music / avant-garde / electroacoustic / sound art / noise / contemporary art / harsh / conceptual art / industrial music / drone music

Merzbow is the main recording name of the Japanese noise musician Masami Akita

MICHAEL ESPOSITO

documentary / musique concrete / psychophonia / electronic voice phenomena (evp) / transcommunication / esoteric / abstractism / ambient music / acousmatic / avant-garde / electroacoustic / field recordings / sound art / experimental / noise / contemporary art / nonmusic / site specific / conceptual art / drone music

Michael Andrew Esposito
Experimental Artist, Paraphycology researcher, Paranormal sound art.


In this video: "Auditory Thresholds" with: Michael Esposito & Carl Michael von Hausswolff

Michael Esposito was born 1964 in Gary, Indiana. He is an experimental artist and researcher in Electronic Voice Phenomena (EVP). An ancestor of Alfred Vail, who invented the Morse Code and several early telegraph devices with his partner Samuel Morse. Another ancestor, Jonathan Harned Vail was office manager and assistant to Thomas Edison in his later years when Edison was attempting to develop a device to communicate with the dead. Michael studied communication theory at Purdue University, University of Notre Dame, American University in Cairo, Egypt and Governor's State University. Over the years, under the Phantom Airwaves institution, Michael has participated in hundreds of paranormal investigations all over the world. He has conducted extensive research at many active locations and has developed a great deal of unique theory and devised many unique experiments within the field of EVP. Focusing primarily on EVP research, he has collected tens of thousands EVPs and video. He is featured in the films:

Dead Whisper, Paranormal Labs: Ghosts - Dead Whisper, Ghost Asylum, The Sallie House - Gateway to the Paranormal, Dead Whisper: In Search of Ghosts and the Supernatural, Paranormal Labs Presents: Ghost Asylum, The Sallie House - Gateway to the Paranormal, 2011 Ash 8.3 #3 presented to Michael Esposito by Ash International.

Michael has appeared in numerous television, radio and newspaper features.
Working extensively with EVP's relationship to experimental music, Michael combines EVP with field recording and related frequency tones of research sites to provide an audio-archeological picture of both sides of the veil.
Michael is currently published by Touch Music [MCPS] UK.

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 -

NICHOLAS ISHERWOOD

spoken word / musique concrete / performative art / sound installation / modern composition / minimalism / electroacoustic / sound art / experimental / contemporary art

Nicholas Isherwood’s music has been influenced by the great composers he has had the privilege to work with as a singer. His music has been performed at venues such as the Gewandthaus in Leipzig, the Goethe Institut in Paris, the CNRS, Yehudi Menuhin’s Flâneries Musicales in Reims, the Perpignan Festival, the SMIO in Orléans, the Théatre Dunois, Dôme IMAX and Bibliothèque Historique  in Paris, Freiburg, the MDR in Halle, the SWR, Vanderbilt University, the University of Oregon, Kaoshung, Taiwan, Hong Kong and Togamura, Japan. He has received commissions from the DRAC du centre, Art Zoyd and the CNAT in Reims. Isherwood’s music has been performed by VOXNOVA, Stefano Cardi, Michel Amoric, Magnus Andersson, Isabel Soccoja, Christophe De Villeneuve and the soloists of the MDR children’s choir. His music has been broadcast by France Musique, the MDR and the SWR. He is a member of the SACD. 

Nicholas Isherwood is one of the leading singers of early music and contemporary music in the world today. He has worked with Joel Cohen, William Christie, Peter Eötvös, Paul McCreesh, Nicholas McGegan, Kent Nagano, Zubin Mehta and Gennadi Rozhdestvensky as well as composers Sylvano Bussotti, Elliott Carter, George Crumb, Hans Werner Henze, Mauricio Kagel, György Kurtág, Olivier Messiaen, Giacinto Scelsi, Karlheinz Stockhausen and Iannis Xenakis in prestigious venues around the world (La Scala, Covent Garden, the Théatre des Champs Elysées, Salzburg Festival, Concertgebouw, Berlin Staatsoper, Vienna Konzerthaus, Tanglewood). Directors he has worked with include Yuri Lyubimov, Tadashi Suzuki, Pier Luigi Pizzi, Sylvano Bussotti, Dmitri Bertmann, Michael Hampe, Pierre Audi and La Fura dels Baus.  Operatic roles include "Antinoo" in Monteverdi’s Il Ritorno di Ulisse in Patria with Boston Baroque, “Plutone” in Monteverdi’s Il Ballo delle Ingrate at the Angers Opera, "Claudio" in Händel’s Agrippina with Nicholas McGegan, "Satiro" in Rossi’s Orfeo and “Pan” in Marais’ Alcione with Les Arts Florissants, "Joas" in Porpora's Il Gedeone with Martin Haselböck, "Frère Léon" in Saint François d’Assise in the last composer supervised production, "Der Tod" in productions of Ullmann’s Der Kaiser von Atlantis with the Bach Akademie in Stuttgart, the Konzerthaus in Berlin and 2e2m, “Roméo” in Dusapin’s Roméo et Juliette at the Avignon Festival, Montpelier Opera and on tour, “Lear” in Hosokawa’s Vision of Lear for the Munich Biennale, the title role in Mefano's Micromégas , "Bartolo" in Mozart's Le Nozze di Figaro and the title role in The Mikado at the Eugene Opera,  “Truffaldino” in Ariadne auf Naxos at the Long Beach Opera, “Giovanni Falcone” in Nicola Sani’s Il Tempo Sospeso di Volo at the Teatro Cavallerizza in Regio Emilia, the "Hotel Manager" in Adès Powder her Face in Lugo and at the Teatro Comunale in Bologna, "Astrodamors" in Ligeti's Le Grand Macabre with Zoltan Pesko and La Fura dels Baus and "Il Testimone" in Bussotti's Tieste, the title role in Luca Lombardi's Il Re Nudo, all at the Teatro dell'Opera in Rome, “General Howard” in Zender’s Chief Joseph, the 7 Attempted Escapes from Silence and Kagel’s Der Tribun, all at the Staatsoper in Berlin, several roles in Zender’s Don Quixote at the Komische Oper Berlin and "Lucifer" in the world premieres of Stockhausen’s Montag, Dienstag, and Freitag aus Licht at La Scala and the Leipzig Opera and in Donnerstag aus Licht at Covent Garden. He has improvised with Steve Lacy, Joëlle Léandre, Sainkho Namtchilak and David Moss,recorded over 50 cd’s and appeared in three films.

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.

PANICSVILLE

avant-garde / electroacoustic / noise / surrealism

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...”


 

PHILIPPE PETIT

avant jazz / musique concrete / modern composition / abstractism / minimalism / avant-garde / electroacoustic / experimental / concrete turntablism / industrial music / drone music

PHILIPPE PETIT is interested in soundtracks; even if he creates original music he'd rather be introduced as a "musical travel agent" than a composer. PETIT uses a computer to build up electronic layers, process acoustic and field recordings. To second the machine he likes to move various glasses, or percussive objects, and take advantage of vinyl material to fondle released sounds. A journalist for various magazines and radio as well as a musical activist, PETIT has celebrated his 25th year of sharing his musical passions as the man behind the cult labels Pandemonium Rdz. and BiP_HOp. PETIT has assembled what people call a dream-team of collaborators, working with: Lydia Lunch, Foetus, Kumo, Scott McCloud (Girls Against Boys), Cosey Fanni Tutti, My Brightest Diamond, Sybarite, Pantaleimon, Graham Lewis (Wire), Barry Adamson, Scanner, Mira Calix, Kammerflimmer Kollektief, Guapo, Leafcutter John, Simon Fisher Turner, Justin Broadrick and many more... Aside his solo works, PETIT is active in Strings Of Consciousness, does a duo with Lydia Lunch, and his collab with James Johnston (Gallon Drunk/Bad Seeds/Faust)

PIETRO RIPARBELLI

Alias: PT-R | PIETRO RIPARBELLI / K11 / KAULA / TELE.S.THERION

video art / visual art / musique concrete / sound installation / psychedelic / psychophonia / electronic voice phenomena (evp) / transcommunication / esoteric / radionoise / ambient music / acousmatic / weird black metal / minimalism / avant-garde / electroacoustic / field recordings / sound art / experimental / noise / contemporary art / nonmusic / constructivism / abstract expressionism / site specific / ritual dark ambient / conceptual art

Pietro Riparbelli is a philosopher, composer and sound-multimedia artist. Curator and executive producer of the meta-curatorial practice platform "Metasound", spin-off of the publisher Radical Matters - Editions / Label directed by SG, to investigate the dimension between music and contemporary art: http://www.radicalmatters.com/metasound Artist Statement: My work arises from the study of the Phenomenology of perception with particular reference to the dichotomy between Visible/Invisible strictly connected with the studies about the concept of sound landscape. About the environmental works I usually make a deep investigation of particular places, making recordings like field recordings or recordings of signals from short wave radio receivers and VLF receivers, in order to compose conceptual works about the selected sites; together with a deep study about the history of the place on which I’m working on. I’m interested in reconfiguring the sound panorama through its transcendental aspects to create a dimension that is not only sound but mainly a total perceptive dimension that bring ourselves to find out a new kind of perception. I realize works as PIETRO RIPARBELLI especially related to the world of Contemporary Art. So each work arise from a conceptual idea turned into sound. The field in which I principally work is linked to the perception of the sound landscape and to the perception of inner states of consciousness related to other dimensions of awareness. K11 is a project that deals with the world of radio signals, the trans-communication and other invisible phenomena, to create a dimension where the only sound sources are signals from shortwave radio receivers and field recordings taken from very specific locations. In this project I use only sounds coming from the atmosphere and from invisible places turned into fields of drone with particular interest into the study of the dynamics of Noise. 

With PT-R project I want to investigate the way to create rhythmic sound landscapes making the use of environmental sounds (field recordings) with particular reference to the world of electronic scene. The method I utilize within PT-R project is based on sampling of environmental sound sources turned into rhythmic framework.

POSEITRONE | LUCA DI DATO

Alias: MECONIUM

musique concrete / performative art / electroacoustic / experimental / noise / abstract expressionism / harsh / industrial music / drone music

Luca Di Dato

PROJECT D.A.R.K.

musique concrete / sound installation / abstractism / ambient music / minimalism / avant-garde / electroacoustic / sound art / experimental / anti records / concrete turntablism / noise / nonmusic / abstract expressionism / conceptual art / drone music

PROJECT D.A.R.K. are: Kirsten Reynolds, Ashley Davies, Tony Pattinson and Jason Cook. Project Dark have been producing large-scale live video/music shows since 1995. A catalogue of custom sculpted 7" singles is used as a basis for generating a unique range of sounds and spectacular related images. Project Dark have performed 'Excited by Gramophones' extensively in many varying international venues. The catalogue of 7" singles has also been exhibited in the UK and Europe. A 3D show 'Disc Continued...' was premiered in England and has toured in Europe. In London it was presented as part of 'Sonic Boom Live' - a night associated with the 'Sonic Boom' exhibition at the Hayward Gallery, South Bank London. Project Dark were invited by the curator David Toop to contribute an installation piece to this, the first major international exhibition of sound art in England.

PT-R | PIETRO RIPARBELLI

Alias: K11 / PIETRO RIPARBELLI / KAULA / MACABRE / SACRAMENTAL CEREMONY / TELE.S.THERION

musique concrete / psychedelic / radionoise / abstractism / ambient music / minimalism / avant-garde / electroacoustic / field recordings / sound art / experimental / noise / harsh / idm / martial noise / glitch / industrial music

Pietro Riparbelli is a philosopher, composer and sound-multimedia artist. Curator and executive producer of the meta-curatorial practice platform "Metasound", spin-off of the publisher Radical Matters - Editions / Label directed by SG, to investigate the dimension between music and contemporary art: http://www.radicalmatters.com/metasound With PT-R project I want to investigate the way to create rhythmic sound landscapes making the use of environmental sounds (field recordings) with particular reference to the world of electronic scene. The method I utilize within PT-R project is based on sampling of environmental sound sources turned into rhythmic framework.

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

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.

SERVILE SECT

psychedelic / black metal / ambient music / avant-garde / electroacoustic / experimental / noise / drone music

Psilo-lysergic bicoastal anti-hymns from Luke (NYC) and Nhate (Humboldt County). Originally formed in Phoenix, AZ in early 2005. Nothing is concrete, nothing is complete. Turn to space through shattered skvll.

SETH CLUETT

avant jazz / musique concrete / sound installation / modern composition / esoteric / abstractism / acousmatic / avant-garde / electroacoustic / field recordings / sound art / noise / contemporary art / glitch

American artist, performer and composer born in 1976 in Troy, New York, USA.

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.

SIMM-EL

Alias: MASSIMILIANO VIEL

sound installation / modern composition / abstractism / ambient music / minimalism / avant-garde / electroacoustic / sound art / experimental / noise / constructivism

Massimiliano Viel (also as OTO LAB) attended courses and master- classes in piano studies, conducting, electronic music, ethnomusicology and composition in Milan, Paris, Salzburg and Odense with professors such as A. Corghi, M. Stroppa, K. Huber, B. Ferneyhough, K. Stockhausen, F. Donatoni e T. Murail. SIMM-EL is a project devoted to the exploration of electromagnetic soundscapes.

SIMON BALESTRAZZI

Alias: DREAM WEAPON RITUAL

musique concrete / esoteric / abstractism / ambient music / electroacoustic / experimental / drone music

Founder Member of T.A.C. T.A.C., Kino Glaz Deep Engine and Dream Weapon Ritual co-founder. Kirlian Camera member from 1991 to 1997.

SIMON BALESTRAZZI

Alias: DREAM WEAPON RITUAL

musique concrete / abstractism / ambient music / avant-garde / electroacoustic / experimental / noise / drone music

SNOW CRASH

Alias: JOACHIM MONTESSUIS / JULIEN OTTAVI

grind / musique concrete / performative art / actionism / abstractism / avant-garde / electroacoustic / power electronics / sound art / experimental / noise / nonmusic / abstract expressionism / harsh / drone music

SNOW CRASH consisting of the two vocal artist Joachim Montessuis and Julien Ottavi, deliver apocalyptic big bang sound poetry. Powerful, brutal and harsh operates this duo in the extreme climates of experimental sound.... ....a trance-noise performance of the ceremony yet unheard violence that voodoo sounds, brings together powerful - roaring sounds, detonating screaming, ecstatic speech utterances, rough and grainy magic obsession..... ....quantum experiments on experimental sounds of devastating violence awaits all who want to dive into the Harsh Noise trance. You are been warned ...!!!
(TXT by plattfon.ch)

SONGS OF THE NEW EROTICS

avant jazz / musique concrete / performative art / electroacoustic / noise / nonmusic / abstract surrealism

W.A.Davison. Songs of the New Erotics is an experimental audio and performance art project headed by Toronto-based polymedia artist W.A.Davison. The project was initiated in 1991 as a means of translating various Recordist/Surrealist experiments into finished works of music, film, and performance art The Songs of the New Erotics project is essentially divided into two complimentary components - performances and audio compositions. Both aspects of the project may also involve film and video work (performance documents, "music videos", etc.) as well as elements of visual art, poetic texts, and other artistic forms.

SSHE RETINA STIMULANTS

abstractism / avant-garde / electroacoustic / experimental / noise / harsh / drone music

Paolo Bandera | Sshe Retina Stimulants ("Super-Sound High Energy Retina Stimulants") was started in 1993 and is the solo project of P.NG5361.B of Sigillum S.

STRANGE ATTRACTOR

psychedelic / radionoise / abstractism / ambient music / avant-garde / electroacoustic / field recordings / experimental / noise / drone music

Mark Pilkington, editor of the Strange Attractor Journal. Strange Attractor celebrates unpopular culture. We declare war on mediocrity and a pox on the foot soldiers of stupidity. Join Us. Strange Attractor was co-founded in 2001 by: John Lundberg and Mark Pilkington.

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 Concrète, 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

TELEPHERIQUE

abstractism / ambient music / electroacoustic / experimental / networking / abstract surrealism

Klaus Jochim, Danijela Jochim & Rene Jochim The project Telepherique began in 1989 with the intention to explore processes and working with people of different cultures. They started with mail-art projects, co-operations, and communication with people all over the world. Basically, Telepherique is Klaus, Danijela and Rene Jochim, from Würzburg, Germany, but there were others that became members of Telepherique, because of the massive collaborations and projects: Ulf Harr, Echart Seilacher, Harry Lüftl, Stefan Au, Stefan Alt and Karin... The name Telepherique is the french word for funicular railway. This name was chosen because of the intention gaining a view from a higher level.

THE AUSTRASIAN GOAT

doom / black metal / abstract symbolism / weird black metal / electroacoustic / drone music

THE AUSTRASIAN GOAT is Julien Louvet Austrasia was the name of a forgotten land, between france and germany. Centuries after centuries, the people of Austrasia refused the christian influence and kept a relative independance until the 18th century. Through the ages, this land kept marks of ancient pagan rites, scares of deceases and major conflicts, and shroud of suffering, hidden behind apparent serenity. This green and grey desert attests the fall of a civilization.

THE HATERS

Alias: GX JUPITTER-LARSEN

avant jazz / grind / musique concrete / performative art / sound installation / abstractism / avant-garde / electroacoustic / sound art / experimental / anti records / collage art / nonmusic / harsh / site specific / conceptual art

The Haters are foundedd by GX Jupitter-Larsen It's a noise music and conceptual art troupe from the United States. Founded in 1979, they are one of the earliest and best-known acts in the modern noise scene. The group is primarily the work of the Hollywood, California-based musician, artist, writer, and filmmaker GX Jupitter-Larsen, accompanied by a constantly changing lineup of other "members," usually local experimental musicians and artists in whatever town in which a Haters performance happens to take place.

THE MOUNTAIN OF THE CARDIOID SNAKE

avant jazz / musique concrete / electroacoustic / experimental / noise / abstract surrealism / surrealism / drone music

Massimo Cuomo

TORTURE CORPSE

black metal / abstractism / ambient music / avant-garde / electroacoustic / experimental / industrial music / drone music

Robert Kroos

TOY

Alias: RMEDL

avant-garde / electroacoustic / field recordings / sound art / experimental / contemporary art / abstract expressionism

SG

TRAVEL TRIP

avant jazz / psychedelic / abstractism / electroacoustic / noise

Travel Trip, an Italian Duo composed by Marco Seracini, synths and computer, and Augusto Tatone, electric fretless bass. Electoquantum ambient music it's a self named form of experimental ambient music based on two principles of quantum physics: entanglement and synchronicity.

ULTRA SPIESSER

Alias: JULIAN BONEQUI / JULIAN PERCY / ANTON MAIOF

doom / avant jazz / modern composition / abstractism / ambient music / minimalism / avant-garde / electroacoustic / experimental / noise / abstract surrealism / drone music

ULTRA SPIEßER (ULTRA SPIESSER) are: Julian Percy, Anton Maiof, Julian Bonequi “NK a well known place for avant-garde and experimental music in Berlin was the location where Julian Percy aka Ratbag(electric guitar treatment), Anton Maiof (voice, wii & max/MSP) and Julian Bonequi (manipulated drums & voice) came together in November 2010 to play Ultra Speicer, a stunning performance which promises a deep and intense sonic trip. Leading off with hypnotic drumming, distorted guitar lines embedded in ambient sounds the album moves to ecstatic drumming combined with female and male vocals, accompanied by well placed sound collages which achieve to carry off the listener to another state of consciousness.” Julian Bonequi (December 27, 1974 ) is a Mexican artist working mostly with Noise and Improvisation since 1995. His musical research focuses on emotional instability, semantic landscapes and cathartic explosions and even alienated as an act of concentration. Curator of Audition Records, Dissemination of Musicalibre & drums on F.O.C.O. Orchestra (2006-2011)… has performed under the conduction of William Parker, Keith Tippett, Eddie Prévost, Michael Fischer, London Improvisers Orchestra, Berlin Improvisers Orchestra w/ Tristan Honsinger, Ute Wasserman, Alison Blunt, Wolfgang Georgsdorf… w/Mat Pogo, Klaus Kürvers, Hans Tammen & Ursel Schlicht, Thomas Bjelkeborn, Olaf Rupp, Olivier di Placido, Dave Tucker ( Machinations of Joy ), Germán Bringas, Zeger Vandenbussche, Clayton Thomas… Some other projects : Animales Varios (w/Klaus Kürvers), Ultraspießer (w/Ratbag), Tabla y Cuchillo (w/Ricardo Tejero), The Blind Date (w/Julio Clavijo), Sangre Azteca, Comechingones, The Third Mind (Barcelona), Pandillismo (México) … In Istanbul has performed with Volkan Terzioğlu (Islak Köpek)… and recorded with Umut Çağlar ( re:konstruKt ), Korhan Futacı & Barlas Tan Özemek. At the end of 90′s he played as invited musician with Decibel ( 1999 ), Culto Sin Nombre (2003) … Basically psicodelic bands, chamber music , rock in oposition and other folkloric fusions in Mexico City… Julian currently is working with drums and voice as soloist in a mixture of extreme improvisation and instant composition. In 2012, Julian will start collaborating with Salon Bruit. Julian Percy wurde 1978 in Melbourne Australien, geboren. Für die Erstellung seiner Klänge bedient er sich verschiedener Materialien, wie z.B im urbanen Raum gefundene Objekte, selbst gebauten Instrumenten , individuell preparierte Guitarren, klassischen analogen Effekten , Sampler . Seine Projekte sind RATBAG, LAST DOMINION LOST , MATARRATAS , ULTRA SPEICER , HELAAS , SKULP , NK. RATBAG on ZHARK INTERNATIONAL

VRI-IL

avant jazz / psychedelic / ambient music / electroacoustic / experimental / noise / surrealism / drone music

V-Zent:Vincent Gambino - vox, clarino tapes, plates metallofoni. Kiwy:Matteo Cucini keyboards, sampler, percussions. Aljaz:Francesco Cavaliere - vox, guitar, bass, tapes, discophono. Vril or Vri-il referes also to a non defined form of mystical energy often linked to Orgone energy as described by Wilheilm Reich. The bands intuitions have lead them to believe that life is but a long oniric experience modified by the will of the dreamer. Vri-ils live performance tends to create an hypnagogic environment in which one can lose touch with his conscious self and reach different states of creativity. This is achived through hypnotic rythms, tones repetition and frequency modulations. With the proper attention the listener can reach an estatic condition and hear the infinity of sounds within a single sound. This link them to ancient music traditions and to the modern ipnotic performances such as those of The Theatre of Eternal Music of La Monte Young, Steve Reich Vri-il has played various concerts all around Italy, two special concerts, wich actually were two 6 hours celebrations of spring equinox and summer soltice during 2004, were recorded and released on CD by MCL (Musica di un certo livello), an indipendent italian label. Their first album was completed in summer 2004 and released in early 2005 by MCL and Misty Circle, an historical experimental and industrial label based in Rome.

XABIER ERKIZIA

musique concrete / sound installation / modern composition / abstractism / minimalism / avant-garde / electroacoustic / field recordings / sound art / experimental / noise / nonmusic / drone music

Sound artist and curator

Y.E.R.M.O.

musique concrete / performative art / abstractism / ambient music / avant-garde / electroacoustic / field recordings / experimental / drone music

Xavier Dubois, Yannick Franck.

ZERO KAMA

musique concrete / performative art / esoteric / actionism / body art / avant-garde / electroacoustic / experimental / contemporary art / folk / ritual dark ambient

Michael DeWitt Early ritual industrial project of Michael DeWitt (Nekrophile Records). Only "The Secret Eye of L.A.Y.L.A.H." and a few compilation tracks were ever recorded. A planned release of a musical/ritual rendition of The Book Of The Law was planned, but only one track ended up being completed. ZERO KAMA war ein musikalisches Soloprojekt von Michael DeWitt, der unter diesem Namen 1984 das Album "The Secret Eye of L.A.Y.L.A.H." veröffentlichte, auf dem ausschließlich Musik zu hören ist, die auf selbstgebauten Instrumenten aus menschlichen Schädeln und Knochen gespielt wurde. Inspiriert durch die Praxis tibetischer Mönche, aus den Knochen von Mönchen, hingerichteten Verbrechern und Jungfrauen rituelle Musikinstrumente anzufertigen, begann Michael DeWitt im Frühjahr 1984 eigene Knocheninstrumente herzustellen. Neben reich verzierten Oberschenkeltrompeten nach tibetischem Vorbild entstanden auch vier Schädeltrommeln, verschiedene Perkussionsinstrumente, ein Oberschenkelknochenyxlophon, eine Unterschenkelknochenflöte und zwei aus Unterschenkelknochen und Ellen zusammengesetzte Blasinstrumente, die durch ein Oboen-Doppelblatt-Mundstück angeblasen wurden.