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

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.

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

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

 

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.

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.

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.

CIANI PIERMARIO

Alias: TRAX 0982 / TRAX 0983

sound sculpture / visual art / punk / sound installation / psychedelic / avant-garde / sound art / experimental / collage art / noise / contemporary art / nonmusic / networking / abstract surrealism / fluxus

One of the founders of TRAX label along with Vittore Baroni and Massimo Giacon, graphic artist Piermario Ciani (1951-2006) was also the mind behind "virtual" rock band Mind Invaders, and, from 1994, one of the founders of the Luther Blissett multiple name project, officially ended in 1999. In 1996 he also cofounded with Vittore Baroni the publishing firm AAA Edizioni. Founder member of LT. Murnau and the multidisciplinary project TRAX.

CLAUDIO PARODI

avant jazz / modern composition / abstractism / minimalism / avant-garde / sound art

Claudio Parodi has a classical training as a pianist. Since more then ten years he plays also self-built or self-modified electronics, and more recently some non-western reeds. Many collaborations with many musicians, dancers, poets, actors, painters and video-makers.

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.

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.

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.

DAVE PHILLIPS

actionism / body art / field recordings / sound art / 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.

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”.

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

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.

LIEUTENAT MURNAU

Alias: TRAX 0982 / TRAX 0983 / VITTORE BARONI

musique concrete / abstractism / sound art / anti records / collage art / concrete turntablism / noise / contemporary art / fluxus

Vittore Baroni is an Italian journalist who was among the first to write about industrial music and the new experimental frontiers. He recorded some experiments on his own which appeared on different compilations, then towards the end of the 80s' he founded the odd experimental band Le Forbici Di Manitù. 'Lieutenant Murnau' was a pioneering musical project from Vittore Baroni (Italy) operating in the field of "plagiarism", known in Italy as an obscure act it became a cult afterwards. When he first got involved in Mail-Art around 1977, artists like Genesis P. Orridge (1), Richard H. Kirk (2), Monte Cazazza (3) and Nigel Ayers (4) were among Baroni's early contacts. He began to be involved in what at that time was called the "tape network", with his own audio experiments. After a few years of experiments in sound-poetry he began with his project 'Lieutenant Murnau' in 1980. His experiments as 'Lieutenant Murnau' were much more ironical then the industrial music which had at that time its evolution since the mid seventies. It was a little step beyond industrial, Baroni was mostly interested in that area of audio collage which in a few years took the name of "plunderphonics" or "plagiarism". He did not want to play a single note or instrument but to recycle and transform the record releases of other musicians to create new sounds. His sleeping room was his studio where he created his music with the help of only a few tape decks, old record players, prepared vinyl records, tape loops made on a old Geloso reel-to-reel tape recorder, some toy instruments, … he created his music.

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

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”

MASSIMO GIACON

Alias: TRAX 0982 / TRAX 0983

sound sculpture / visual art / sound installation / psychedelic / abstract symbolism / avant-garde / sound art / experimental / noise / contemporary art / networking / conceptual art

Massimi Giacon, born in Padova 1961, has been working as a comic strip maker, illustrator, designer, artist and musician since early 1980. He was also a founding member of Italian group Spirocheta Pergoli and founded TRAX label along with Vittore Baroni and Piermario Ciani. Massimo Giacon was born in Padua (Italy), in 1961. In 1979 he started publishing comics on a regular basis in the major specialized magazines (Frigidaire, Linus, Alter, Dolce Vita, Cyborg, Nova Express, Blue), soon becoming one of the points of reference for the “bizarre” comics. In 1980 he started a music activity that drove him to create several indie music bands. He has since concentrated on his musical activities as solo artist. In 1981, together with Vittore Baroni and Piermario Ciani he took part in the multimedia network projet TRAX, the forerunner of the future activities of subversive Luther Blisset. Then he began a constant artistic-performing activity which led him to a series of exhibition events in Italy, America, Greece, Portugual an Switzerland. In 1985 he took an interest in design and launched into a collaboration with some of the major architecture offices in Milan (Sottsass, Mendini, Thun). He also created designs for the well-known brands such as Memphis, Swatch, Artemide, Alessi. He designed carpets, laminated materials, illustrations for fashion magazines, web sites, fabrics, virtual carachters, TV theme songs, ceramics, and is now working for videogames, various editorial projects, new design objects and art exhibitions. giaconmaximus@gmail.com

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.

MUDBOY

musique concrete / abstractism / avant-garde / sound art / experimental / noise / folk

Raphael Lyon.

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.

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

RUDOLF EB.ER

visual art / musique concrete / performative art / actionism / body art / avant-garde / sound art / noise / contemporary art / nonmusic / abstract expressionism / site specific

Rudolf Eb.er (a.k.a. Runzelstirn & Gurgelstock/Wash Your Brains] is a Actionist Performer from Switzerland active from 1985, who leads Schimpfluch Gruppe. He prefers to identify his own work as "psychoacoustic trainings". He is constantly touring with fellow Schimpfluch Gruppe members like Joke Lanz performing actions, which often lead to riots and subsequent ban of Gruppe in certain countries.

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.

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.

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)

SUDDEN INFANT

musique concrete / performative art / actionism / body art / sound art / noise / abstract expressionism

Joke Lanz Basel / Switzerland Joke Lanz aka SUDDEN INFANT creates an unique blend of physical sound-poetry and dadaistic vocal expressions, using contact microphones, prerecorded soundloops and noises. Member of the infamous SCHIMPFLUCH collective, singer of the notorious CATHOLIC BOYS IN HEAVY LEATHER and long time accompanist of Rudolf Eb.er, he's presenting his work since more than 20 years all over the world. Born in Switzerland, now based in Berlin, Joke Lanz has collaborated with the likes of Z'EV, Carlos Giffoni, Peter Kowald, Christian Marclay, Norbert Möslang, DJ Olive, G.X. Jupitter-Larsen, Christian Weber, Charlotte Hug, Jorge Sanchez-Chiong, Roger Rotor, Strotter Inst, Evil Moisture, Small Cruel Party and many more. Music for contemporary dance, theatre, sound-installations and short-films. Innumerable releases on international labels e.g. Entracte, RRR, Tochnit Aleph, Blossoming Noise, Artware, Klanggalerie, SSSM. Artist residencies in Berlin (1999) and London (2004). Composition assignment by Pro Helvetia Arts Council of Switzerland (2006).Music for contemporary dance, theatre, sound-installations and short-films. Innumerable releases on international labels e.g. Schimpfluch, Entr'acte, RRR, Tochnit Aleph, Blossoming Noise, SSSM, Artware, Klanggalerie, MSBR. Led workshops about Turntablism & Noise Music at the Music Academy Lucerne. Artist residencies in Berlin (1999) and London (2004). Composition assignment by Pro Helvetia Arts Council of Switzerland (2006). Working in the area of experimental and free music since 1989, Sudden Infant is building up complex noise compositions, using unconventional sound sources, lo-fi electronics and turntables. Sudden Infant's music has a humorous and highly improvised character. Joke Lanz aka Sudden Infant creates an unique blend of physical sound-poetry and dadaistic vocal expression, using contact microphones, prerecorded soundloops and noises. The result is abrupt Musique Concrète juxtapositions of spasmodic gibbering and a battery of disorienting electronics. It's a fragmented field of sound that comes to its own autonomy!

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

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.

TOY

Alias: RMEDL

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

SG

TOY BIZARRE

musique concrete / sound installation / abstractism / acousmatic / minimalism / avant-garde / field recordings / sound art / experimental / noise / conceptual art / drone music

"In june 1985, I decided to work under the name of Toy Bizarre, while my best friend and I were recording crickets singing in a pit along a small countryside road, in the sunset. His father's old tape recorder was in fact so bad that we were just able to hear a small frequency part of the hypnotic insects rhythm between the clouds of hiss. Back at home, I decided to go on recording, put on tape every little sound of my environment, of the sonic world I was surrounded by. I still do it. My actual work is focused on "places", its characteristics and its sound components. So the goal of all my sound compositions is to explore a place: it could be a chain of mountains, a square meter of grass, a beach, a marshalling yard, a hydroelectric powerstation... Each time the process is the same: recording all the typical sounds of the place (well, for me), then to compose sound pieces only with these sounds, through a sound sculpture process. So we can say that each one of these pieces is the sonic reflection of the place." -- Cédric Peyronnet

TRAX 0982

Alias: TRAX 0983 / MASSIMO GIACON / CIANI PIERMARIO / VITTORE BARONI

sound installation / abstractism / avant-garde / sound art / experimental / collage art / contemporary art / networking / conceptual art / fluxus

TRAX is a multidisciplinary project founded by: Vittore Baroni Piermario Ciani Massimo Giacon Trax (1981-1987) was an 80s label founded by Piermario Ciani, Vittore Baroni and Massimo Giacon from Spirocheta Pergoli. It was an open networking project that connected over 500 artists and musicians from different countries, producing records, audiomagazines, xerographies, comics, t-shirts, exhibitions and so on.

TRAX 0983

Alias: TRAX 0982 / MASSIMO GIACON / CIANI PIERMARIO / VITTORE BARONI

sound installation / abstractism / avant-garde / sound art / experimental / collage art / contemporary art / networking / conceptual art / fluxus

TRAX is a multidisciplinary project founded by: Vittore Baroni Piermario Ciani Massimo Giacon Trax (1981-1987) was an 80s label founded by Piermario Ciani, Vittore Baroni and Massimo Giacon from Spirocheta Pergoli. It was an open networking project that connected over 500 artists and musicians from different countries, producing records, audiomagazines, xerographies, comics, t-shirts, exhibitions and so on.

VITTORE BARONI

Alias: TRAX 0982 / TRAX 0983 / LIEUTENAT MURNAU

visual art / musique concrete / sound installation / psychedelic / avant-garde / sound art / experimental / collage art / noise / contemporary art / nonmusic

Vittore Baroni is an Italian journalist who was among the first to write about industrial music and the new experimental frontiers. He recorded some experiments on his own which appeared on different compilations, then towards the end of the 80s' he founded the odd experimental band Le Forbici Di Manitù. Founder member of LT. Murnau and the multidisciplinary project TRAX.

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