A SHORT TERM EFFECT

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

Alberto Picciau

ALEKSANDER KOLKOWSKI

sound sculpture / avant jazz / musique concrete / performative art / sound installation / modern composition / abstractism / electroacoustic / avant-garde / 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.

ANDREA MARUTTI

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

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

ANDREA SOZZI

photography / musique concrete / sound installation / contemporary art / nonmusic / constructivism / abstract surrealism / fluxus

Photographer

ANTOINE CHESSEX
Alias: DARK MATTER

avant jazz / musique concrete / modern composition / abstractism / ambient music / minimalism / electroacoustic / avant-garde / 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 / werid 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

 

ATRAX MORGUE

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

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

BAD SECTOR | MASSIMO MAGRINI

musique concrete / radionoise / abstractism / electroacoustic / avant-garde / 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 / electroacoustic / avant-garde / 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 / electroacoustic / avant-garde / 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"

CHRISTINA KUBISCH

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

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

CLAUDIO ROCCHETTI

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

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

CLAUSTHOME

musique concrete / radionoise / abstractism / ambient music / electroacoustic

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

CONTAGIOUS ORGASM

musique concrete / abstractism / electroacoustic / field recordings / noise

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

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.

FRANCISCO LOPEZ

musique concrete / sound installation / psychedelic / modern composition / abstractism / ambient music / acousmatic art / 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 art / minimalism / electroacoustic / avant-garde / 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)

IVES 1

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

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

JOHN BLADES
Alias: THE LOOP ORCHESTRA

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

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

JULIAN PERCY
Alias: MATARRATAS / ULTRA SPIESSER

avant jazz / musique concrete / abstractism / avant-garde / experimental / noise / drone music

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

K11 | PIETRO RIPARBELLI
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 art / minimalism / werid black metal / electroacoustic / avant-garde / 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 art / minimalism / electroacoustic / avant-garde / 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.

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.

MASSIMILIANO VIEL
Alias: SIMM-EL

musique concrete / sound installation / modern composition / abstractism / ambient music / acousmatic art / minimalism / electroacoustic / avant-garde / 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 / electroacoustic / avant-garde / 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”

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

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

Meconium are: L. Nascitari and L. Poseitrone.

MERZBOW

avant jazz / musique concrete / psychedelic / modern composition / abstractism / ambient music / electroacoustic / avant-garde / 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 | PHANTOM PLASTICS [MICHAEL ESPOSITO AND PATRICK ESPOSITO]

documentary / musique concrete / psychophonia / electronic voice phenomena (evp) / transcommunication / esoteric / abstractism / ambient music / acousmatic art / 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 / werid 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.

PHILIPPE PETIT

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

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

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

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

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

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

POSEITRONE | LUCA DI DATO
Alias: MECONIUM

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

Luca Di Dato

PROJECT D.A.R.K.

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

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

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

musique concrete / psychedelic / radionoise / abstractism / ambient music / minimalism / electroacoustic / avant-garde / 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.

RADICAL MATTERS EDITIONS LABEL
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 art / minimalism / avant-garde / electroacoustic / sound art / experimental / anti records / concrete turntablism / noise / dark ambient / contemporary art / nonmusic / constructivism / abstract expressionism / conceptual art / drone music

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 art / electroacoustic / avant-garde / 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.

SIMON BALESTRAZZI
Alias: DREAM WEAPON RITUAL

musique concrete / abstractism / ambient music / electroacoustic / avant-garde / 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.

SONGS OF THE NEW EROTICS

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

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

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: SG / K11 | PIETRO RIPARBELLI / ASTRAL LUEUR / WILDNESS PERVERSION | MORTUARY DRAPE

doom / avant jazz / musique concrete / sound installation / modern composition / psychophonia / esoteric / black metal / abstract symbolism / suprematism / acousmatic art / minimalism / electroacoustic / avant-garde / sound art / experimental / contemporary art / nonmusic / abstract expressionism / site specific / ritual dark ambient / conceptual art / drone music

Teleth . Sigelion. Therion | Acousmatic Black Metal | A r s A k o u s m a t i k o i : + SG : Phono-medianic record sessions of electric bass guitar prepared with metal coils, amplified in enviromental feedback system using 13 speakers and microphones, during electroacoustic metaphonic field recording session, Ars Echemythia. Hermetic sigil lyrics. + K11 : Instrumental transcommunication actions with short-wave radio receivers, exploring high-range distortions dimensions. Engeneering. Medianic chants, channelling, Ars Echemythia. In large ensemble with: + Lunurumh [Astral Lueur]: Medianic chants, channelling, Ars Echemythia. + Wildness Perversion [Mortuary Drape]: Medianic chants, channelling, Ars Echemythia.

THE HATERS
Alias: GX JUPITTER-LARSEN

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

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

THE 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

THE MOUNTAIN OF THE CARDIOID SNAKE / MASSIMO CUOMO

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

Massimo Cuomo

TOY BIZARRE

musique concrete / sound installation / abstractism / acousmatic art / 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

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 / electroacoustic / avant-garde / field recordings / sound art / experimental / noise / nonmusic / drone music

Sound artist and curator

Y.E.R.M.O.

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

Xavier Dubois, Yannick Franck.

ZERO KAMA

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

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