T.S.I.D.M.Z. (ThuleSehnsucht In Der MaschinenZeit), born and conceived between 2002 and 2007 (the year when it was first produced), is an Italian project of Electronic music with Futuristic, Hyperborean and Martial attitude that takes inspiration from various genres within the field of Industrial, Popular and Traditional Music. In both music and themes, the purpose is to be as eclectic as possible while remaining faithful to the aim of the project. For this reason the project has always been involved in collaborations with other musicians, including split-cds, guest musicians, shared projects and collaborations on tracks and songs. T.S.I.D.M.Z. has signed and released with musical labels including Old Europa Café, Ufa Muzak and SkullLine.
GE-STELL is a minimal electronics/post-industrial unit from Venice (Italy), active since 2015. Using mainly analogue equipment, occasionally integrated with low-fi digital gears, the project focuses its interest on the exploration/documentation/exhibition of the post-modern coercive system, wich is conceived as strongly supported by the the structural synergy of technology, clinical psychology and applied social sciences. Ge-Stell music is meant to be the perfect soundtrack for a documentary about the nowadays new dimensions of slavery and psychosis.
Satori, continuing a project first started in the 1980’s founding member Dave Kirby brings an onslaught of industrial soundscapes, pounding drums and a dystopian vision of a world commited to destroying itself. Comprising a mixture of harsh noise and power electronics with a harder and heavier percussive beat than before Satori enter 2018 with a collection of new songs “Dispossession” based on the physical and mental disconnect facing everyone in the modern world. A constant pervasive undercurrent of violence, the feeling of a society on the brink of a total meltdown and the fears and torments of the powerless individual.
Lorenzo Abattoir is an Italian-based noise artist and sound engineer from Torino. His work takes shape in a context of underground extreme noise music to become accessible through projects related to sound art. “The sound of chaos merging with order, where every detail and nuance seems to be carefully regulated and controlled”.
Merzbow (メルツバウ Merutsubau) is a Japanese noise project started in 1979 by Masami Akita (秋田 昌美 Akita Masami).
The name Merzbow comes from the German dada artist Kurt Schwitters’ artwork Merzbau, in which Schwitters transformed the interior of his house using found objects. The name was chosen to reflect Akita’s dada influence and junk art aesthetic. In addition to this, Akita has cited a wide range of musical influences from progressive rock, heavy metal, free jazz, and early electronic music to non-musical influences like dadaism, surrealism, and fetish culture. Since the early 2000s, he has been inspired by animal rights and environmentalism, and began to follow a vegan, straight edge lifestyle.
As well as being a prolific musician, he has been a writer and editor for several books and magazines in Japan, and has written several books of his own. He has written about a variety of subjects, mostly about music, modern art, and underground culture.
HIEMIS – Thule Limited edition ( 40 copies) Label: Gradual Hate Records / Series: El Lobo y la Espada – L.E. 11 K7 Format: Cassette, Album Country: Spain Released: 25 Apr 2019 Style: Drone, Dark Ambient, Esoteric Ambient
There is evidence that shows the existence in ancient times of an arcane civilization that controlled much of the West and even Greece and Egypt itself. The Atlantis empire was a confederation of different kingdoms located in the ancient Thule, which together formed an empire that ruled for nearly 3000 years the Mediterranean. They were experts in different subjects such as astronomy, navigation or metallurgy, one of their greatest legacies being megalithic monuments. Political and religious interests caused the oblivion of this civilization, in addition to the false legends that pushed the destruction of the myth. Precursor of Greco-Roman mythology, the Atlantean lineage was recovered over time by Julius Caesar himself for his own benefit as propaganda of the Roman Empire, becoming a living god, like the kings of Atlantis.
Many will be the historians, archaeologists and researchers of all time who will try to decipher the mystery of Atlantis. Especially, after Schiemann discovered the city of Troy following the clues found in Homer’s readings. The hypotheses about their possible settlement have been, in most cases, speculative and with little scientific basis. Surely one of those that has gained more strength is that which relates it to Greece (Minoan culture) and Spain (Tartessian… more
Music by Juan Carlos Toledo (Silent Love of Death) Art by Diego Arandojo
Existen evidencias que demuestran la existencia en tiempos antiguos de una arcana civilización que controló gran parte de Occidente e incluso Grecia y el propio Egipto. El imperio Atlantis era una confederación de distintos reinos ubicados en la antigua Thule, que unidos conformaron un imperio que gobernó durante cerca de 3000 años el Mediterráneo. Eran expertos en distintas materias como la astronomía, la navegación o la metalurgia, siendo uno de sus mayores legados los monumentos megalíticos. Intereses políticos y religiosos provocaron el olvido de esta civilización, además de las falsas leyendas que empujaron a la destrucción del mito. Precursor de la mitología grecorromana, el linaje atlante fue recuperado con el paso del tiempo por el mismísimo Julio Cesar para su propio provecho como propaganda del Imperio Romano, convirtiéndose en un dios viviente, como los reyes de la Atlántida.
Muchos serán los historiadores, arqueólogos e investigadores de todos los tiempos que intentarán descifrar el misterio de la Atlántida. Sobre todo, después de que Schiemann descubriera la ciudad de Troya siguiendo las pistas encontradas en las lecturas de Homero. Las hipótesis sobre su posible asentamiento han sido, en la mayoría de los casos, especulativas y con escasa base científica. Seguramente una de las que ha cobrado más fuerza es aquella que la relaciona con Grecia (Cultura minoica) y España (cultura tartésica). En ese sentido, las teorías encontraron afinidad con algunos topónimos mencionados por Plantón y que hace referencia al Mediterráneo, África y a la que fuera colonia fenicia de Gades.
Kollaps – Mechanical Christ Label: Cold Spring – CSR269CD Format: CD, Album Country: UK Released: 28 May 2019 Style: Industrial
Australian post-industrialists KOLLAPS are a three piece creating a unique brand of primitive noise “intended for degenerates and outsiders”. The bands’ distinctive primordial tones are created using appropriated waste materials like scrap metal, raw plastics and steel plates combined with blistering percussion, bass and vocals. This is no empty “industrial” gesture, for the band this process of creation facilitates the literal use of postmodern society against itself.|
Mechanical Christ, the bands’ sophomore release, is a conceptual continuation of its predecessor Sibling Lovers. This release sees Kollaps further their exploration of the inherent societal sickness of our times, one that manifests itself in the debasement of individual morality. Themes of exploitation, vengeance, drug addiction, paranoia and slave labour are part of a dissonant, inverted morality play. Testament to the bands’ evolving conceptual depth are the overarching themes of love, life and death that offer a sense of shared experience in the discomfort of the universal human experience. Known for their violent and nihilistic stage performances, this recording encapsulates with harsher clarity the visceral confrontation that is Kollaps’ live act.
Mechanical Christ was recorded and mixed over a two-month period at Aviary Studios by Mike Deslandes, and mastered by James Plotkin/Plotkinworks. It is a 36-minute journey into the desperation and lack of resolve that is both the crux of modern social ills and at the very heart of the human condition.