A SHORT TERM EFFECT

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

Alberto Picciau

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.

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.

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

ASTRAL LUEUR

Alias: TELE.S.THERION

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

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


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

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

 

AUM ARRHYTHMIA

Alias: DANIEL JANSSON / PER AHLUND / DEADWOOD

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

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"

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.

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.

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.

DEATH TRICHECO

mail art / musique concrete / performative art / abstractism / ambient music / avant-garde / experimental / collage art / noise / nonmusic / networking / surrealism / industrial music / fluxus / drone music

DEATH TRICHECO

>>>Industrial music since 1988<<<

LINE UP:

Matteo “torcy” Torcinovich: Voice, Tapes, Keyboards
Alvise “elvis” Guadagnino: Tapes, Guitar, Keyboards
Antonella “dinamo” Potente: Voice, Improbable instruments
 

DT WAS BORN IN 1988. WAS AN INDUSTRIAL EXPERIMENTAL MUSIC COMBO FROM VENICE, ITALY. THEY WORK MOSTLY ON STUDIO RECORDING.

THEIR STUDIO RECORDING (TRAVARIZA STUDIOS) WAS COMPOSED OF SIMPLE AND CHEAP INSTRUMENTATION: A LITTLE CASIO KEYBOARDS SK1, ONE ELECTRIC GUITAR WITH SOME ANALOG DELAYS AND COMPRESSORS, HOMEMADE PERCUSSIONS, A CHEAP ACUSTIC GUITAR AND A MICROPHONE MADE WITH A HEADPHONES.

TO RECORD THE SOUNDS, THEY USED TWO DOMESTICS STEREO CASSETTE DECKS, OVERDUBBING THE TWO STEREO CHANNELS ON ONE (LEFT + RIGHT REVERSED IN ONE VARIOUS TIMES), THIS MODUS OPERANDI PROVOKES AN INEVITABLE ‘RUSTLING SWISH’ TYPICAL OF ALL THE RECORDINGS OF TD. FOR THAT REASON IN 1989 DT DRIPPED THE THEORICAL MANIFESTO OF MUSIC FOCUSED ON THE BUZZING OF SOUND, A SORT OF PRAISE TO THE USE OF LOW-FI TECHNOLOGIES FOR DIY MUSIC.

DT WAS PART OF A MORE COMPLEX AND ARTICULATED PROJECT THAT INVOLVED OTHER ARTISTS COMMITTED IN THE REALIZATION OF VIDEO CLIPS, THEATER, POEMS, COMICS, PUNK ROCK.

THIS ARTISTIC CORPORATION WAS NAMED PRODUZIONI TECNOFOBICHE.

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.

EMPIRICAL EVIDENCE

musique concrete / psychophonia / electronic voice phenomena (evp) / transcommunication / radionoise / abstractism / ambient music / minimalism / avant-garde / field recordings / noise / nonmusic / site specific / drone music

Empirical Evidence is Aldo Ammirata. Metaphysical experimental audio research and paranormal investigations. EVP, frequencies meters and recivers devices, field recording and electroacoustic manipulations.

FOLKSTORM

Alias: MZ.412 / NORDVARGR / HENRIK NORDVARGR BJORKK

ambient music / experimental / martial noise

Folkstorm was a project of Henrik N. Björkk which existed until 2001.

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)

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

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.

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.

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.

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).

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.

NOCTURNAL EMISSIONS | NIGEL AYERS

Alias: TRAX 0982 / TRAX 0983

psychedelic / abstractism / ambient music / avant-garde / experimental / noise / industrial music

The project was initiated in London in or around 1980 by Nigel Ayers (b. 1957) together with collaborators Danny Ayers(b.1964) and Caroline K (b.1957- d.2008). From early in their work, the group concentrated on the axiom of music being a form of social control, and highlighted concepts such as information overload, cult conditioning, brainwashing and subliminal advertising, in a critique of information society. Their music drew heavily on worldwide folk traditions as well as that of the European avant-garde. One of their earliest performances was in a railway arch in Atlantic Road, Brixton, while the 1981 Brixton riots raged outside. Since 1984 Nocturnal Emissions has continued mainly as Nigel Ayers' solo project. Line-up has varied from one to a dozen musicians. Nocturnal Emissions temporary members have included net artist Stanza, Ben Ponton of Zoviet France and (somewhat bizarrely) life coach Fiona Harrold. Nocturnal Emissions is a sound art project that has released numerous records and CDs in music styles ranging from electro-acoustic, musique concrète, hybridised beats, sound collage, post-industrial music, ambient and noise music. The sound art has been part of an ongoing multimedia campaign of guerrilla sign ontology utilising video art, film, hypertext and other documents. Nocturnal Emissions were later to be associated with the Kernow section of the Association of Autonomous Astronauts and to feature in a best-selling story by the novelist Stewart Home.

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...”


 

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.

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

SACRAMENTAL CEREMONY

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

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

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.

SEVENGUITARS

avant jazz / musique concrete / performative art / sound installation / psychedelic / abstractism / ambient music / minimalism / avant-garde / sound art / experimental / noise / constructivism / site specific / drone music

Francesco Fuzz Brasini Sevenguitars is a project born from the idea of interaction between sound and space. The project features seven guitars, seemingly identical but technically conceived to produce distinctive characteristics: the seven instruments have been designed and handcrafted with a tonal chamber inside the solid body which interacts with the string's harmonic vibrations creating different sound effects. Every guitar is connected to a valve-amplifier each of witch is equipped with distinctive speakers and different power. The amps are used at the maximum volume and tone. This creates a feedback effect with the guitars: the strings go in auto-oscillation creating different harmonics depending on the instrument and the tuning, and reacting with the acoustic features of the performative environment. The musician loses, therefore, the role of executor and becomes only the creator of a process open to unpredictable results and closely related to the spatial contest of the performance. Every place, every contest, becomes an important variable able to influence the result: the sound, therefore, is more linked to the spatial dimension rather than to the temporal one with which the music is traditionally associated.

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

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.

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 / REN&#232; 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.

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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 LOOP ORCHESTRA

Alias: JOHN BLADES

avant jazz / musique concrete / performative art / abstractism / ambient music / minimalism / avant-garde / experimental

Founded in 1982 by Richard Fielding and John Blades. Other members: Manny Gasparinatos, Patrick Gibson, Hamish MacKenzie, Sheriff Lindo. The genesis of The Loop Orchestra occured in the ashes of a simple two-tape-machine-no-man-band, The Nobodies, which died in a fire in 1980. From those ashes, and with a pastiche taken from the likes of Terse Tapes, home of Severed Heads, an ashen poultice was formed to take up further and more involved household heretical experimention, this time with reel-to-reel tape machines. This idea was subsequently expanded upon in the studio of Sydney radio station 2MBS-fm amid a group of experimental radio programmers. Two, John Blades and Richard Fielding, were using the studio equipment as an instrument, experimenting with tape machines through processes involving cutting, dissecting, rearranging and rejoining prerecorded tape, creating tape loops and playing them back. They felt a need to formalise their studio experimentation and so conceived the idea of creating a full blown machine orchestra whose contrived destiny it was to perform in the Sydney Opera House's hallowed Concert Hall. The intention of the Orchestra was for groups of instruments of an orthodox orchestra to be represented by reel-to-reel tape machines playing loops of the instruments' sounds. Upon the realization that this egoistical ambition was doomed a smaller ensemble comprising 4 reel-to-reel machines playing slowly evolving tape-loop constructions, made its live debut playing a live-to-air performance in the rather less graceful, but no less culturally appropriate studio of Sydney radio station 2MBS-fm in 1983, as The Loop Orchestra. A variety of eminent luminaries can lay claim to having been members of the Orchestra, including Patrick Gibson, Peter Doyle, Anthony Maher and Ashley Blower. The current lineup consists of John Blades, Richard Fielding, Emmanuel Gasparinatos, Hamish MacKenzie and Juke Wyat. Members of the Orchestra have been, or are, involved in a diverse variety of groups and projects including but not limited to: Severed Heads; Scattered Order; The Systematics; No Nights Sweat; Splendid Mess; War, Meat & The Dictator; East End Butchers; Z.glutz; Ya Ya Coral; Moral Fibro; Famous; Kinderschmerzen; Esqué; Clean Air Campaign; Hiroshima Chair; Sherrif Lindo & The Hammer; Nutcase & Papa Chubba; Men Like Licorice; Violence In Spring; Vorkapich; Kyoko-Mary & The Cogs of Death; Strict vs State; and Cannibal Loops. THE LOOP ORCHESTRA Against seamless method Against the state of the art and the art of the state Against the tension/release nexus Against the validation of effort Against the composer as genius for a transparency of sound for the anticlimax as metaphor for alienation, detachment and disembodiment for the occlusion aesthetic for the detritus of phonography THE LOOP ORCHESTRA

TOROIDH

Alias: MZ.412 / FOLKSTORM / NORDVARGR / HENRIK NORDVARGR BJORKK

ambient music / experimental / noise / folk / abstract expressionism / harsh / martial noise / industrial music / drone music

Toroidh is a martial industrial music project by Swedish musician Henrik Nordvargr Björkk (of industrial band Maschinenzimmer 412 fame). Bjorkk has described it as a continuation of Folkstorm, his previous project.

TORTURE CORPSE

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

Robert Kroos

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.

Y.E.R.M.O.

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

Xavier Dubois, Yannick Franck.