{"id":271,"date":"2026-02-14T00:26:51","date_gmt":"2026-02-13T23:26:51","guid":{"rendered":"https:\/\/www.radicalmatters.com\/tele.s.therion\/?page_id=271"},"modified":"2026-07-03T17:01:22","modified_gmt":"2026-07-03T15:01:22","slug":"tst-duplicato-per-prove","status":"publish","type":"page","link":"https:\/\/www.radicalmatters.com\/tele.s.therion\/","title":{"rendered":"Tele.s.therion – Acousmatic Black Metal"},"content":{"rendered":"\t\t
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Acousmatic Black Metal<\/h4>\t\t\t\t<\/div>\n\t\t\t\t
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TELE.S.THERION<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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2026 NEWS:<\/h4>\t\t\t\t<\/div>\n\t\t\t\t
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After a long time of struggle, blasphemous crimes against Music will be revealed…

<\/em><\/p>

“Odium Musicae Theologicum.<\/em>
Adoration of the Forbbiden Offices.<\/em>
Liberate from the Moralizer Perfectissimus Equal Tempered System.<\/em>
Profane the Holy Cross of the Horizontal and Vertical aspects of Melody.<\/em>
The Mio\u00fczikal Cross ceal the Tonos (T\u03cc\u03bd\u03bf\u03c2).<\/em>
The Virgin whore, Theot\u00f3kos of the Seven Modes.<\/em>
And the Damned Tyrant filthy Dominum Neume (N\u03b5\u1fe6\u03bc\u03b1).<\/em>
Disobey Thou mercenary law.<\/em>“<\/h3>

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\u00a0<\/p>

I will not tell you about other operations that are still hidden, of which it is dangerous to reveal their existence,<\/em>
as just saying it, could compromise their nature.<\/em>
+ Sub rosa dicta velata est.+<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Biography<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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Line-up:<\/strong>
Active since 2007.<\/strong>
2007 \u2013 Present
SG (often unsigned \/ uncredited or signed as “TST” or “Tele.s.therion”) :
Concept desgin, scores, enharmonic electric bass, percussions, prepared guitars, enharmonic bow, tape, disembodied voices, silence.<\/p>

2007 – 2011<\/strong>
Often uncredited or signed as \u201cAkousmatikoi\u201d
SG : Concept design, scores, enharmonic electric bass, tape, silence.
K11 : Short-wave radio receivers, instrumental trans-communication actions, silence.<\/p>

In large ensemble with:<\/strong>
Lunurumh, Nick Didkovsky, Norman Westberg, Ren\u00e8 Lussier, Stelios Romaliadis, Roger Turner, Eli Litwin, Massimiliano Viel, Reinhart Hammerschmidt, Kristian Cucchiara, Dan Blacksberg, Franz Hautzinger, Stefano Corsi, Michel Doneda, Le Quan Ninh, Jason Van Gulick, Kasper T. Toeplitz, Antoine Chessex, Paolo Sanna, Mvett Guibourg, Wildness Perversion [Mortuary Drape], Xuartec, Rito Primitivo.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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[\u2026] Conceptual Art as tool to investigate behind the compositional, productional, reproductional and excecututional aesthetic operations,<\/em>
focused on the \u201cconstruction of art” instead of the formal compositional qualities that are recognizable as art;<\/em>
aiming a spotlight on its active and generative processes, to play with this neural products of the thinking. [\u2026]<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Music For Loudspeakers And Audience.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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Established in 2007 by two aesthetic operators, since the early years, from 2007 to 2011, the studies are focused into practices near to gloomy experimental electroacoustic music, and deep explorations into extreme drone and doom heavyness. In 2011 the duo split and becomes leaded by a unique composer, conductor and player, which over the years have involved authors from the most varied backgrounds and experiences, postulating the liminality as a framework of reference in the compositionional method (“liminality as compositionional method”). From 2011 to 2017 the research was more focused on the development of a conceptual definition of the black art of noise, creating a music theory able to run new compositional method’s approaches of the music experience, as a deep immersive ritualistic psychodrama, to design the audible and the inaudible.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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The aim is to give body and life to a self-referential system, in which the impossible, the invention and the hallucination coexist showing the iron laws that bind them to the plausible, to the ideal, to the real, to reach the tautological praxis of the “Acousmatic Black Metal” (and the “Non Aural Black Metal”, Non Aural Music, which deriving the first postulate, for “reductio ad unum”, confirms its consistency leading back to the single common determining cause).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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This method it is based on the syncretic use of techniques and attitudes borrowed from musical genres such as Jazz and Rock, and thus from the praxis of the radical primitive (African) Blues that unites them, and which can be find ourselves in the original Black Metal music [1982 (\u03b1) – 1996 (\u03a9)], introduced as an interpretive key inside of a compositional and executive system, linked to practices carried out by the fringes of classical, modern, contemporary, experimental and avant-garde music, with a special interest on the musique concrete and acousmatic process, conceptual art and the electroacoustic improvisation, atonal music, Dark and Doom Heavy Metal, applied to a radical Black Metal approach (which like jazz, it push its exploration into the most rough, cacophonous and chaotic field of music cognition), 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 available.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t\t\t\t\t\t The Black Metal’s engineering its mutuated by its royal descent, which is derived from the practices developped in Punk (that will develop the wide spectre of the Industrial Music genre) and proto-Thrash era, and it is distinguishable by a strong interest in the aesthetic theories and frightful imaginary, focusing on the physiological effects, of special cognitive operations that constitute specific mental categories such as the sublime or of the monstrous (in its etymological meaning), which here becomes extra-musical evocative suggestions, shock tactics, hard edged perspectives, transgressive and anti-establishment attitudes, iconoclast actions, etc. [\u2026] \t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t It is necessary start to watch through the veil of this musical genre, with an upside down point of view, to discover its “das unheimliche”, to transgress the stereotypes and clich\u00e9, and design new possible forms within this musical dimension; to start a new auditory journey to the roots of Black Metal music. \t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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Non-objective, aniconic and non-representational art. Absolute music, for private and public polyphonic sound projections, through orchestras of loudspeakers, for immersive deep listening experiences, in order to unleash the acousma, the sensory phantasms that allow the altering of cognitive and perceptual processes, through pareidolic stimuli, to bring out imaginative and synesthetic subconscious and unconscious processes, the epopteia.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Black Metal: 1982 (\u03b1) - 1996 (\u03a9) <\/h6>\t\t\t\t<\/div>\n\t\t\t\t
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– \u03c0\u03c1\u03bf\u03bb\u03b5\u03b3\u03cc\u03bc\u03b5\u03bd\u03b1 –<\/em><\/p>

[\u2026] In this perspective, is postulated that the therm “Black Metal” is referred only to the musical phenomena that goes from 1982 to 1996, a time lapse that is catheterized by extreme and progressive transgression of its own origins in the heavy metal music assets, redesigning each time its own structure developing different kinds of field of researches. Everything start with the album “Black Metal” by Venom and everything ending with the album “Vi Sonus Veris Nigrae Malitiaes” by Abruptum, and this it’s implied when this term is referred.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Philological References:<\/strong>
Venom “Black Metal” 1982, Death SS “Evil Metal” 1983, Slayer “Show No Mercy” 1983, Mercyful Fate “Melissa” 1983, Hell Hammer “Satanic Rites” 1983, Paul Chain Violet Theatre “Detaching From Satan” 1984, Venom “Warhead” 1984, Slayer “Haunting the Chapel” 1984, Venom “At War with Satan” 1984, Venom “Aaaaaarrghh” 1984, Poison “Sons Of Evil” 1984, Mercyful Fate “Don’t Break the Oath” 1984, Bathory “Bathory” 1984, Sodom “In the Sign of Evil” 1984, Hellhammer “Apocalyptic Raids” 1984, Destruction “Sentence Of Death” 1984, Celtic Frost “Morbid Tales” 1984, Poison “Bestial Death” 1985, Bathory “The return” 1985, Bulldozer “The Day Of Wrath” 1985, Possessed “Seven Churches” 1985, Sepultura “Bestial Devastation” 1985, Onslaught “Power from Hell” 1985, Celtic Frost “To Mega Therion” 1985, Poison “Awakening Of The Dead” Poison 1986, Sodom “Obsessed by Cruelty” 1986, Paul Chain Violet Theatre “In The Darkness” 1986, Kreator “Pleasure To Kill” 1986, Sepultura “Morbid Visions” 1986, Bulldozer “The Final Separation” 1986, Sarcofago “Black Vomit” 1986, Poison “Into The Abyss…” 1987, Bathory “Under the Sign of the Black Mark” 1987, Necrodeath “Into The Macabre” 1987, Infern\u00e4l M\u00e4jesty “None Shall Defy” 1987, Death SS “The Story of Death SS” 1987, Mortuary Drape “Necromancy” 1987, Morbid “December Moon” 1987, Macabre “Macabre Rites” 1987, Sarc\u00f3fago “Satanic Lust” 1987, Paul Chain “King Of The Dream” 1987, Sarcofago “Christ’s Death” 1987, Sarc\u00f3fago “I.N.R.I.” 1987, Morbid Angel “Thy Kingdom Come” 1987, Sagatrakavashen “Forza Arcana” 1988, Sacramental Ceremony “Sacramental Ceremony” 1988, Paul Chain “Violet Art Of Improvisation” 1989, Mortuary Drape “Doom Return” 1989, Mystifier “Tormenting the Holy Trinity” 1989, Sagatrakavashen “Sexual Lust” 1989, Death SS “Black Mass” 1989, Paul Chain “Opera Decima (The World Of The End)” 1990, Deicide “Deicide” 1990, Beherit “Demonomancy” 1990, Beherit “Dawn of Satan’s Millenium” 1990, Blasphemy “Fallen Angel of Doom” 1990, Abruptum “Abruptum” 1990, Abruptum “The Satanist Tunes” 1990, Mordor “Odes” 1990, Necromantia “Promo Tape 1990”, Beherit “The Oath of Black Blood” 1991, Von “Satanic Blood” 1991, Samael “Worship Him” 1991, Profane Grace “The Seal Of Xastur” 1991, Abruptum “Evil” 1991, Thergothon “Fhtagn-Nagh Yog-Sothoth” 1991, Abruptum “Orchestra Of Dark” 1992, Mortuary Drape “Into the Drape” 1992, Mordor “Csejthe” 1992, Mystifier “Wicca” 1992, De Vermis Mysteriis \/ Azhubham Haani 1992, Profane Grace “The Divination of Souls” 1992, Necromantia “Vampiric Rituals” 1992, Equimanthorn “Entrance To The Ancient Flame” 1992, Abruptum “Obscuritatem Advoco Amplect\u00e8re Me” 1993, Havohej “Unholy Darkness and Impurity” 1993, Beherit “Drawing Down The Moon” 1993, Necromantia “Demo” 1993, Darkness Enshroud “Winter of Sorrow 1993, Necromantia “Crossing The Fiery Path” 1993, Mayhem De Mysteriis Dom Sathanas 1994, Necromantia From The Past We Summon Thee” 1994, Havohej “Black Mist” 1994, Thergothon “Stream from the Heavens” 1994, Satanicum Tenebrae “Voices Of The Dark Call Me To Suffer” 1994, Equimanthorn “Nindinugga Nimshimshargal Enlillara” 1994, Mortuary Drape “All The Witches Dance” 1994, Darkness Enshroud “Ancient Kingdoms” 1994, Satanicum Tenebrae “Til Helvete” 1994, Abruptum “In Umbra Malitiae Ambulabo, In Aeternum In Triumpho Tenebraum” 1994, Havohej “Black Perversion” 1994, Satanicum Tenebrae “Seul” 1995, Funereal Moon “Beneath the Cursed Light of a Spectral Moon” 1996, Balam “Cycle Dahasboeth” 1996, Darkness Enshroud “Unveiled Ghostly Shadows” 1996, Balam “Dirges VII To XII (Cycle Dahasboeth)” 1996, Laielheb “Old Incantations & Forbidden Prayers” 1996, Balam “Whispers Of Balam” 1996, Torture “Torture” 1996, Abruptum “Vi Sonus Veris Nigrae Malitiaes” 1996.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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(Liminality as) Compositional Method.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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– Og\u00f3lny Opis –<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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“In logical syntax the meaning of a sign should never play a role. It must be possible to establish logical syntax without mentioning the meaning of a sign: only the description of expressions may be presupposed […] In geometry and logic alike a place is a possibility: something can exist in it. […] A propositional sign, applied and thought out, is a thought. […] A thought is a proposition with a sense. […] The totality of propositions is language. […] A proposition is a picture of reality. […] A proposition is a model of reality as we imagine it. […] A gramophone record, the musical idea, the written notes, and the sound-waves, all stand to one another in the same internal relation of depicting that holds between language and the world. They are all constructed according to a common logical pattern. […] There is a general rule by means of which the musician can obtain the symphony from the score, and which makes it possible to derive the symphony from the groove on the gramophone record, and, using the first rule, to derive the score again. That is what constitutes the inner similarity between these things which seem to be constructed in such entirely different ways. And that rule is the law of projection which projects the symphony into the language of musical notation. It is the rule for translating this language into the language of gramophone records. […] The possibility of all imagery, of all our pictorial modes of expression, is contained in the logic of depiction. […] In order to understand the essential nature of a proposition, we should consider hieroglyphic script, which depicts the facts that it describes. And alphabetic script developed out of it without losing what was essential to depiction. [\u2026]”<\/em> – Ludwig Josef Johann Wittgenstein –<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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An epistemological analysis about “free, intuitive and spontaneous improvisation” music techniques,
inside a radical constructivistic prospective of the “mind\u2013body problem”.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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‘Process Music – Non-Idiomatic Acousmatic Improvisations’.
<\/strong>Following the studies of Michael Nyman, John Cage, Galen Brown , Curtis Rhodes, Alfred North Whitehead, Erik Christensen and Karlheinz Stockhausen, about theyr categorization of ‘process music’, these compositional method could be basically described as ‘Rule-determined people processes’ and ‘Open form chance-determination processes’, in which the material is not determined by the composer directly, but through a system created. This is the main field of research of Tele.s.therion’s compositional method about acousmatic improvisation theory and execution, conceived for small and large ensemble compositions, where shapes and timbres of the sound bodies chosen are a unity with the personality and attitudes of the author involved, which perform their session using only a ‘concrete score’ as common script, a piece made by a recording session of enharmonic electric bass, that becomes the tactus, the modus and the meter (a pulsing measure and a sort of cantus firmus) of the entire composition. […] To the authors involved it is required to record their sessions (following just the concrete score), without knowing what the other authors involved have did or will do. […] The composition emerges through its “mise en sc\u00e8ne”, the simultaneous and unison playback of the recording sessions involved, in a psychoacoustic gestalt.”.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Tele.s.therion’s compositional method was forged assuming the Logic as a framework of references, as a model of the reality, to reformulate the conception of music and found a new field of research into the black art of noise. Logic is iconoclastic; assuming its implications, the common rules adopted are broken. Logic it’s a radical tool to investigate the thought and the cognition which underlying the dynamics of mind operations. By radical constructivism and by a third order cybernetic branch called logonic, or cybernetic of the mind, the mental constructs will be reduced to pure operational combinations, revealing their role in the nature. Symbolic logic, propositional and predicative logic, are conceived as a systemic praxis that the brain perform in the interpretation and in the construction of the meaning inside the linguistic syntax and musical syntax: \u201cit seems possible that both have a same origin, even if in different domains, perhaps both are developed by our animal abilities, and not due to human specification\u201d. Darwin already defined it as musical protolanguage, which has maintained, however, even in animals, a form that from our human point of view seems to have a propositional type of syntactic and a predicative logic, albeit in the absence of human language. To create aesthetic experiences using a radical methodology, means achieve the core of the discipline in itself, taking it back to its constituents, its epistemic structure. This is the set to transgress the elements that form the discipline, to the point of redesign its praxis to explore new imaginaries, to design new phenomenologies.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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In this compositional method, the sound matter it’s selected choosing the performers that forms the ensemble. “The research is conducted in the medium of sound and the musician himself is at the heart of the experiment”. To keep the rule of independence of each sound event, each author is called to record the own session separately to the others, developing the performance through a dialogic operation that require to listen the other unmanifested but possible sounds, not physically present yet but part of the dramaturgy, in a tragedy of listening where the audial experience it isn’t connected to its own source cause, focusing only on the concrete score of enharmonic electric bass, without knowing what the other authors involved have did or will do. Each individual recording session, it’s conceived and treated as a sort of whodunit, an event developed inside a conceptual locked-room mystery, an antiteleological narrative approach, transposed into sound art praxis, where each detail it’s a fondant clues of the acoustic scene, becoming a sound object per s\u00e9. Translating these settings into the theory of performative utterances, this is the ritualistic part of the session. In a paradigmatic analogy between the work of art and linguistic propositions, each session is therefore a tautology.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Such as characters on a movie set, where to the actors it is required to improvise blindfold and alone, following just a concrete score as stage projection, to compose a polyphonic and synergic organicity that was previously designed by the conductor-director, as an inaudible conceptual dramatization, that will be manifested only during the reproduction process, when all the recording sessions are pointed to zero time and played, without any kind of arrangement, but sculpting each session through a sort of chiaro-scuro modeling of the frequencies and the positions in the aural space. As a whole they form a composition, which occurs in the mind of the observer. which can be defined so close to a sort of “intuitive music” choral composition.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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The concrete score it’s a performative action, where the conductor-player becomes the compositional system trigger, inducing moments of forming sound, operating from within the sound masses, like an agitator, an agent provocateur, a catalyst, necessary to let the moment-form happen, through the spontaneous self-process of coagulation and solving of the sound masses (solve et coagula) that each author determinate, following the common script dynamics, exploring the threshold of psychoacoustic phenomenas, unpredictable, spontaneous and self-organized microtonal oscillations, modulations and combination of timbre density and waves echoing of secondary frequencies or non-harmonic resonance frequencies, which can evoke auditory hallucinations.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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“This kind of thing happens in improvisation. Two things running concurrently in haphazard fashion suddenly synchronize autonomously and sling you forcibly into a new phase”. The composition emerges through its mise en sc\u00e8ne, the simultaneous and unison playback of the recording sessions involved, in a psychoacoustic gestalt, capable of existing by itself, to project its living ph\u00e0ntasma, until its arrived there, alive through the loudspeakers, in its physical reality. Paraphrasing Cornelius Cardew can be said: To imagine a language means to imagine a form of life. […] A new area of speculation opens, based on the identity of the player and his music. […] The proposition is that, the improvisation cannot be rehearsed. Training is substituted for rehearsal, and a certain moral discipline is an essential part of this training. […] The difference between making the sound and being the sound: the professional musician makes the sounds, in full knowledge of them as they are external to him; into the Acousmatic Black Metal approach, the musician is its sounds, as ignorant of them, as one is ignorant about one’s own nature.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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‘Process Music – Idiomatic Acousmatic Improvisations’.<\/strong>
This kind of practice it is reserved for “in solo” compositions, used for specific concept-album as “In Umbra Malitiae…” (eight pages ‘graphic score’), “Nekromantische Hexentvm…” (where seven mental representations are the secret and untold ‘thought score’) and “Acta incognitorum…” (as ‘event score’), each acousmatic improvisation is designed to allow the performer to explore the depths of his instrument, within intuitive music settings, through the development of extended techniques and unconventional, unorthodox or non-traditional methods, following an ‘event score’ or an ‘instructional score’ or a ‘graphic score’, that may can include a semiology of the dynamics, articulations, chronometrated parts and agogic indications, used to record separately, without any acoustic reference, each performative action deriving from the execution of the score.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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[Anti-music (therefore)] ‘New Epist\u00eam\u00ea Of Music’.<\/strong>
[…] Precisely because the outcome of this compositional method is unpredictable, lacking any type of arrangement, the result, if listened expecting grooves, riffings, with the charms and stylistic manners of the “genre”, with the ear of those who compare the result of this self sound-aggregation with other musical forms, it might not be recognized in its “beauty”, it might not “like”; for this reason we must apply a different type of aesthetic categorization for the music of TST: they are first of all tautologies and therefore they are realized and completed in their expression, “the beautiful” and “the true” must thus be sought inside the phenomenology that materialize through our senses as “Ideas”, through our ears, comparing this compositional method to the workings of nature, independent of the “aestheticizing” or “descriptive” will of the composer\/observer\/listener\/user. The “beauty” of a tautology lies in its self-substantiality and self-referentiality, and its “truth” lies in its intrinsic coherence and affirmation bordering on paradox.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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This “operative limit” and “liminal field”, which musically demarcates the territories of the “chaotic” (the “cacophonous”, the “indistinct”, the “unexpected”, or rather, the levels of complexity that surpasses any possible computation human cognition), from the territories of the “recognizable” (the “possible”, the “known”, the “computable”, the “comparable”); this “limit” is, precisely, the field, the research area of this type of Art Of Noise, based on the pillars of concrete and acousmatic music (for the type of approach to composition) and on the pillars of black metal (for the type of hard-boiled approach to the sound experience).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Black metal, in its radical aesthetic idealistic form, clean by the rhyming references and catchy hooks that are now jingle and clich\u00e9s of a cooptated genre, edulcorate by ancestral morphological reminiscences that date back to the genetic inheritance perpetuated by the Rock ‘n Roll progenitors, a mixture of the original Blues , (capable of overturning even any “ostinato”), military marches and “Old-Time” western music, fall within Acousmatic Black Metal in terms of muscle memory and expressive attitude, utterance (“metal”), and as a subversive and introspective approach, iconoclastic, transgressive, overthrowing, subversive, blasphemous, traitor, adversary (“black”), towards music itself.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Given the work “Black Metal” by Venom as a key moment for the formation of Black Metal as a “musical practice”, and given the implications of this work, with its “sonic peculiarities” and “aesthetic implications”, which progressively become “genre” and “literature”, it is possible to recognize real operational schools within it, through the development of so-called sub-genres defined by strong, radical, counter-cultural and counter-aesthetic connotations, and in this tradition the music-theory of “Acousmatic Black Metal” develops.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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“Black Metal” by Venom bursts into the newborn mass record market, relaunching, after the first resurgences of the 70s, the theme of occultism, black magic and Satanism as a lyrical, literary, visual and performative theme, exploiting the shock of return as a tactic of assault on the establishment and on “music”, all kind of “music”, as it had been conceived up until then in the wide brace of Rock music context.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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The (Biological) Evolutionary Roots Of Horror [On The Nature Of].
<\/strong>The “religious”\/”anti-religious” meta-musical model (such as its “interstitial entities” and other “interstitial topics”) that was being propagated within “Black Metal” as “genre”, as a “narrative device”, showed how the breaking of social, cultural and individual taboos, served to bring about an alternative, truer, more “real” Art, capable of manifesting a mighty form of “horror”, rather than recalling it to the mind of the listener: that “horror deixis” (as a branch of the “sublime”) becomes the “litmus test” capable of proving the effectiveness and “necessity” (viability) of a “song” or an “album”, in a continuous progression and transgression of what was done before, refining critical techniques and opening up aesthetic paths that were still unknown.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Although here are reshaping the assumptions derived from Venom’s “Black Metal”, and the milieu from which it emerges, synthetizing its constituent elements, reformulating its applications to a higher logical order of analysis, this work remains, in its most substantial form, the catalyst of the various avenues of research that has taken place within it, including Acousmatic Black Metal.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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‘Absolute music. Non-Representational Music’.
<\/strong>If a deterministic form enters this indeterminate compositional system, the cloud of formal possibilities of the composition itself decays, because the cognitive system is favored in its tendency to crystallize the perceptive stimulation in a recognizable configuration but, in this compositional domain, it becomes a statement inconsistent (logical false). Only if the level of indeterminacy with which the performances of the sessions that are part of the composition were conceived is equally high, then the composition is true (logical truth).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Focusing on a particular species of sounds, starting following the catalogation of Antonio and Luigi Carlo Filippo Russolo, listed as in their macro-categories in his manifest “The Art of Noises”: whispers, murmurs, mumbling, muttering, gurgling, etc, it is demonstrated that most of them could be achieved recurring to the codified extended techniques disposed for each instruments, like for flute and similar wind instruments they cloud be described as: air sounds, bisbigliandi, coverthehole flutter tonguing, multiphonics, trimbril \/ quarter tone trills, tongue ram for lower notes, etc. Extending this analysis to the vocal performance, we could start from the phonic equivalents that Filippo Tommaso Marinetti had called “abstract onomatopoeia” or “psychic onomatopoeic-chord”. From spontaneous voices phenomenas, automatic vocalizations, inner speeches, psycho kinetical phoniatries, tourettic voices, speaking in tongues, necroglossolalia, onomatopoeic and pure phonetical sub-vocalization, involuntary speech, embodied and disembodied voices, zombiefied use of the vocalization, to the phono-symbolic use of the consonants (the phonemes that are pronounced with the vocal channel closed, complete or partially) that can be listed as: mutes, voiced, unvoiced, deaf, occlusive, explosive, plosive, fricative, affricate, semi-occlusive, liquid, lateral, vibrating, ringings, momentary, approximant, continuou; nasal, bilabial, labiodental, dental, alveolar, apico-domal, domal, pre-palatal, palatoalveolar, palatal, velar, retroflex, cacuminal, glottidal, uvular, pharyngeal, epi-glottidal. You could image to use only random consonants, simple or double, as lyrical theme, to explore and dilatating the phono-genesis of a word, expanding the phono articolatory technique into art of noise (timbre, pitch, duration, dramatization, m\u00e9los, etc). Chant a voix chuchot\u00e9e, automatic speech, ghostly voices, shadow spectral and phantasmatic speech, as trigger to create resonatory spontaneous sympathetic sounds and hallucinatory oracular sound phenomenas, preternatural human phonations, execrational glottologies, unphonous vocal gestures, dissociative phoniatry, mute howlings, apophatic growls, arcane necro-glossolalies. These are not just a literal suggestions, these are some of the characters of an untold tale, that will be realized crossing this path.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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‘Auditory Processing Of Timing Perception’.
<\/strong>Futurist destruction of quadrature, arrhythmicism, irrational rhythms, tuplets, blast beats, ostinato, unisons.
Liminal timing scale between rarefied silent microtiming and non-isochronic syncopates beats, below the psychological threshold of time perception (under 33 bits per minute), for explore the inner world of subjective rhythmization.
In this kind of compositions the rhythm it is more extensively conceived as a temporal field, or better, as polyvalent form, (also because a short pulse of noise in nuce, if conceptually stretched, could become a piece of music with its own structure and form), such as for the tones, timbre and related densities of events involved, are here conceived to suggesting or evoking cognitive synesthetic scenario, with a sort of floating rhythimcism which depend by the entire polyphonic opera. Microtiming, inside the mental configuration of musical grooves, are obtained through repeating, inducing rhythmic patterns, spontaneously searched by our brain to define a summation of sounds recognizable as a kind music. Many studies hypothesized that microtiming asynchronies, for example between bass and drums, were related to an increase in \u201cmental effort\u201d as indexed by pupillometry, pupil dilation, and a decrease in the quality of sensorimotor synchronization, as indexed by reduced finger tapping stability. Microtiming, outside of the \u2018musical grooves\u2019, into floating arrhythimcism, it’s “imitating the natural lilt of the human voice, the way we talk”.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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‘Sound Object’.
A basic unit of musical structure, generalizing the traditional concept of note to include complex and mutating sound events<\/em>
on a time scale ranging from a fraction of a second to several seconds.<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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‘Outside Time Music (sound object time scale)’.
As sound passes from one time scale to another it crosses perceptual boundaries. It seems to change quality. This is because human perception processes each time scale di\u00aeerently. | Supra Time Scale – A time scale beyond that of an individual composition and extending into months, years, decades, and centuries. Macro Time Scale – The time scale of overall musical architecture or form, measured in minutes or hours, or in extreme cases, days. | Meso Time Scale – Divisions of form. Groupings of sound objects into hierarchies of phrase structures of various sizes, measured in minutes or seconds. When they work within and through each other they can be considered to be “meso-polyrhythms.” | Micro Time Scale – Sound particles on a time scale that extends down to the threshold of auditory perception (measured in thousandths of a second or milliseconds).<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Microtemporal Silence Perception \/ Microtemporal Subliminal Perception:
If the subliminal hints are not fragments of words but rather musical cues (to pitch, timbre, spatial position, or intensity) then we can embed such events at pivotal instants, knowing that they will contribute to a percept without the listener necessarily being aware of their presence. Indeed this is one of the most interesting dimensions of microsound, the way that subliminal or barely perceptible variations in the properties of a collection of microevents\u2013their onset time, duration, frequency, waveform, envelope, spatial position, and amplitude\u2013lead to different aesthetic perceptions.<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Sound Mummification.<\/strong>
All the recordings are fixed and modelled through a “sound mummification process<\/em>” (phonofixation)<\/em>. In the setting assumed into the compositional method of Tele.s.therion, the role of the “sound mummification process” could be described as a pecular conception of \u201cthe art of fixed sounds\u201d (art des sons fix\u00e9s).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Echemythia. The rule of silence.<\/strong>
The acousmatic practices dealt into the ensemble are focused on the mysterical degrees of the art of listening; the black art of silence. Silence, in its revealing value, is the door from which one can access another code of interpretation of reality. The dramatization of the Silence is the set-up where the sound is propagated, the frame of a composition. The Silence could be designed in its quality, as reflecting or absorbent, blasting or dense, evocator or murderous. Through the Silence it is possible to manipulate the sound during the process of music recording. The act of listening can be taken as a cue for a profound phenomenological survey, self-observation during the act of perceptual experience. In this sense the Acousma can be a vehicle.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Non Aural Black Metal, Non Aural Music.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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Coming Soon<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Mimesis Praxeos Kai Teleias<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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[\u2026] “In Umbra Malitiae…” it’s a seminal transubstantiated form of what Venom already defined as Black Metal. Regardless of whether Abruptum have achieved it through a reasoned formula, born descending from a semiological perspective, of historical analysis of the language of art, or whether it was the instinctive, muscolar and subsisting evolution of a vocabulary forged in primordial rock ‘n roll, Abruptum and few others pioneers who ventured into this evolutionary journey (to the sound of “recursive transgressions of the genre”, i.e. the passage from Bathory, to Von, to Beherith, to Havoej, to Moevot for example), have let the atomic constituents (the jazz and the blues) that defined the genre, explode, and this allowed this new “form” to coincide with the avant-gardist “art music” modalities of electro-acoustics, the Art of Noises and “improvisation as a discipline”, opening new inexplorate field of researches.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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[\u2026] “Nature Unveiled” by Current 93, it’s the remake of a seminal opera that was transposed in the perspective of “acousmatic black metal”: it must be considered a masterpiece, capable of materializing entities truly ghostly sounds through a liturgical procedure of sound manipulation. It is an early form of unconventional acousmatic music with a post-punk ascendences.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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[\u2026] “Luzifer Abschied” by Karlheinz Stockhausen, Tele.s.therion’s version was focused on the staging of the rituaria aspects of the original composition, part of a 29-hour opera cycle titled “Licht”, that work around the concept of “XIII” (a recurring reference in the prehistory and in history of TST, dating back to the first semiological researches about that topic, which began in the late ’80s, under a first form, never recorded, originally titled “13 Candles”; for further information refer to the article “Macabre Rites” in C.o.m.m.e.n.t.a.r.i.v.m. VIII), inverting the inner meaning of the score operations, to achieve a “sonic possession” as a cathartic trance, a sort of purgation of thoughts through the senses (verfremdungseffekt). This is an extract from the original Stockhausen’s instructions used as as “event score” for the Tele.s.therion’s version: Entrance with a caged wild black bird. During a slow increasing of a climax, three sound masses play in solos, groups and polyphonically, punctuated by increasing a crescendi. A slow rhythm is interrupted by Lucifer’s arrival as a diabolical wind player outburst. The basses play counterclockwise with a gradual accelerando, calling fortissimo. A sack falls from the sky, soon followed by extreme vocals and bird chanting. Church bells ring outside. They murmur aleatory syllables “tredi-CIII!” (13). An hellish racket of singing, bells and clappers. The basses exit with the wild bird in the cage, set it free, and begin smashing coconuts. At the end, the action expands beyond the realm of the auditory itself, and as the arcane black bird flies off, it’s as if it takes with it Lucifer’s \u00e9gr\u00e9gora presence as well, that goes away from the audial dimension projected by the loudspeakers, to bleeding-through from them, to become manifest. During these last minutes, time is suspended.<\/i> [\u2026]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Discography<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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FILE UNDER:<\/strong> Acousmatic Black Metal; Conceptual Art; Avant-Garde; Black Ambient; Absolute Music; Sound Art; Black Industrial; Black Noise; Electroacoustic Music; Process music; Open Form Music; Dark Ambient; Intuitive Music; Experimental Music; Dangerous Music; Free Improvisation; Art Of Noise; Anti Music; Musique Concrete; Aleatoric Music; Doom Metal; Drone Metal; Atonal Music; Indeterminate Music (Indeterminacy); Improvised Black Metal; Performative Actions, Chaotic Black Metal; Gesture Music, Spectral Music; Bestial Black Metal; Contemporary Classical Music; Acousmatic Improvisation.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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SIMILAR ARTISTS:<\/strong> Abruptum, Hell Icon, The Death’s Head Quartet, M\u00f6zk\u00f6rke, Emit, Amaka Hahina, Mo\u00ebv\u00f6t, Profane Grace, Astral Lueur, Black Pentecost, Darkness Enshroud, Gnaw Their Tongues, Sunn O))), Grauen Pestanz, Summum, MZ.412, Havohej, Kn\u00e1lhKurruv-Kih, Burial Hex, Utarm, Wolf Eyes, Art & Language, Zero Kama, Pierre Schaeffer, John Duncan, George Brecht, Karlheinz Stockhausen, Michel Chion, Hermann Nitsch, Vito Acconci, \u200eGeorge Ma\u010di\u016bnas, Edgar Varese, Antonio Russolo, Marcel Duchamp, Giacinto Scelsi, Dick Higgins, Luigi Russolo, Mauricio Kagel, Throbbing Gristle, Piero Manzoni, Angelo Paccagnini, Phil Minton, Robert Ashley, Egisto Macchi, Mauricio Kagel, William Winant, Alvin Lucier, Francisco Lopez, Teo Macero, Vito Acconci, George Maciunas, Chris Burden, Nurse With Wound, Hanatarash, The Haters, Carl Michael von Hausswolff, Warren Harding Sonny Sharrock, Groupe de Recherche de Musique Concr\u00e8te, Rudolf Eb.er, 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, Einst\u00fcrzende Neubauten, Wormphlegm, Nico Vascellari, Vorak, Necromonarchia Daemonum, Summum, Tharmazegethuzan, Dwelsinge, Balam, Gormantatinus, Burning Apparition of the Master, Funereal Moon, Equimanthorn, Profectum Iri, Hammemit, M\u00f6rmoo, Tar\u00e1ntula Nebula, Kamaa, Kr\u00fc\u00e9t V\u00fcltr\u00e9pr, Geistzeremonie, Mortuarial Night, Parabellum, Hvmanitatem, Rituel de Purification, Unknown Activist, Akihma, Eavral, L’Acephale, Thorns, Black Mountain Transmitter, Black Bile, L\u00fc\u00fcp Orchestra, Asura, Mons Veneris, The Beast People, Mordor, Enkidu, Necromantia, Equimanthorn, Senthil, Thergothon, Kranivm, following the non-musical aural path of early Venom, Hellhammer, Celtic Frost, Sodom, Bathory, Sarcofago, Poison, Von, Blasphemy, Beherit, etc…<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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\u00a0Since 2022 the main official releases of Tele.s.therion are published via Bandcamp in digital format as
“MASTER STUDIO EDITION” [Audiophile Quality] in WAV files at 24 bit 96 kHz.
Produced, Curated and Published By: Radical Matters – Editions \/ Label | Licensed by: CC by nc nd 3.0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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