Replica – Languages Of Decay Label: Twilight Records Format: CD, Album, Digipak Country: Argentina Released: 2007 Style: Electro, Synth-pop
Are you ready for a new journey to know the deep of this isolated souls? Replica is the new promisse of the southmarican scene. Between electro and dark music, Replica´s music bring to the listeners to a oscure pássage full of emotions, feelings and unforgetables songs.
Languages of Dekay show us the two sides of the band: one more intense and depresive and the other more danceable and powerfull.
Replica´s music could be called a duality music, for in the compositions we can find ( lyrically and musically speaking ) from dark and oppressive passages of solitude and hate, passing the ironic hystery of the lack of communication, to rabid and tension released under violent accords.
The idea of Replica is only one: to create a sonic curtain that stays in the ears and minds of the listeners that try to make a step further inside the world of Replica´s songs, understanding the language that this band try to express !
In 1982, SPK issued their ‘music’ video, Despair. Sold mainly via mail order, Despair quickly asserted itself as something of a cult item on the underground when publications such as Re/Search #10: Incredibly Strange Films began to plug it. In that volume, Frank Henenlotter, director of Basket Case, said: «When I saw the video I thought, ‘What a fabulous thing; what a strange way of using music. Who would make a music video to such horror – with actual severed heads…'» Despair consists of 60 minutes of screeching, heavily distorted guitars, electronics, and various tape and vocal effects. The graphics mutate from a series of lines running up and down the screen, into a seemingly random cut-up of images, like scenes of a sex-shop, or an autopsy. The soundtrack drives onward, relentlessly. Sequences showing the mutilation of a dead cat (its eye gouged out and its tongue sliced off) and the unspooling of intestines from a cadaver’s gaping abdominal cavity, are intercut with footage of SPK performing live. The frontman, in bondage mask and swastika armband, bites meat from a rancid horse’s head. Slides of death camps, brain operations, foetal deformities and pathological specimens take the video to its conclusion and infamous mortuary footage. An individual, seen only as a pair of industrial-gloved hands, manoeuvres a detached head to perform clumsy fellatio on a penis protruding from the severed, lower extremities of a corpse. The head is replaced by a skeletal hand, woven with strings of yellowed tendon and gristle. This appendage simulates masturbation of the grey member. Hailing from Australia, SPK were one of the first wave of industrial noise groups. Throbbing Gristle’s label, Industrial Records, put out a 7″ EP of theirs (one track of which, Slogan, appears on the video) and rumours abound that band members
Portraits is a new series from Unexplained Sounds Group focusing on electronic and electro-acoustic music composers. Each release creates a ‘portrait’ of three musicians by showcasing representative pieces of their recent musical journeys, serving as a guide for further listening and a means of exploring their work. This first volume is dedicated to three Italian musicians: Gabriele Gasparotti, Daniele Ciullini, and Mario Lino Stancati. Gasparotti and Stancati are among the most talented emerging musicians on the Italian experimental scene, while Ciullini is a veteran of the post-industrial underground who, after a very long silence, returned to music in 2012.
GABRIELE GASPAROTTI
Gabriele Gasparotti (05/09/1987) composes electroacoustic music on analog instruments. He is the creator of the project Extrema Ratio (music inspired by the script of Alberto Cavallone’s lost movie Maldoror – Il dio selvaggio) and of the artistic collective Gasparotti Muga Muchū Morphing Theater – a multimedia project that aims at the interaction between music and the performative arts and is deeply influenced by surrealism and esoterism. His video La nascita di Zelda v. 2.0 (Zelda’s Birth v. 2.0) was screened at the 76th Venice International Film Festival in the section Il futuro del corto d’autore (The Future of Art Shorts). He is the founder of the record label Il Dio Selvaggio and his latest album is Istantanee vol.1 (Il Dio Selvaggio, Dio Drone, Dornwald).
Active since the 80s in the area of the tape-network with some self-productions and participations in compilations of labels and fanzines of the time, after a iatus lasting about thirty years, Daniele Ciullini returns to the music and live sets. His recent works were published by Luce Sia and Silentes. Unexplained Sounds Group presents some unreleased tracks made by using toy instruments, field recordings and automatic voices.
Mario Lino Stancati (Italy, 1981) graduated in «Disciplines of the Arts, Music and Theater». He is an actor, director, playwright, poet, musician and composer.Not chained to any individual musical genre (he crosses progressive ambient, concrete music and avant-garde composition) and motivated to explore any form of experimentation with music, he developed methodologies and expressive practices capable of merging both vocal performativity and guitar playing.
The three-way compilation is a compilation form I actually like, especially if the three projects/musicians get the space a CD allows; well, twenty minutes each. Here we have three Italian composers, each granted four pieces. I had only heard of Danielle Ciullini before; he recently released a work after a long time of silence and first heard on releases by Trax (Vital Weekly 1254). There are short biographies on the cover of the CD, to pique your further interests. The CD starts with the quartet of pieces by Gabriele Gasparotti, the youngest of the three. He «composes electroacoustic music on analogue instruments». In his music drones play certainly a role, generated from mainly guitars, but also effects or keyboards and throughout there is quite some variation to be noted. The music is a bit dark, quite spacious, with a touch of cosmic music. Sometimes a bit too freaky, but that gives it also a free-spirited edge. The next four pieces are by Mario Lino Stancati (1981), who is an actor, director, playwright, poet, musician and composer. I believe the guitar plays an important role, next to voices, but a fair share of the legwork here is done using electronic processing. It might be his work with theatre that prompted him to add this vocal stuff (not in all pieces), which, for me, adds a bit of a gothic edge to the music. Perhaps, so I thought, this is something of an Italian tradition, along the lines of Ain Soph (especially in ‘Magma Crecia’). His music certainly is touched by a darker force of a mytikal origin, as I am sure this should be spelt. The final four are by Daniele Ciullini, knows for his work with Trax in the 80s. In his pieces he works with massive ambient passages, maybe derived from heavily processed field recordings, versus otherwise heavily treated acoustic sounds, reminiscent from the world of musique concrète. Curiously, his four pieces sound like one long collage of music, with the odd start and stop cues. Strictly personally speaking I was most fond of his work from these three, even when I enjoyed much of the others too. The way Ciullini worked with various musical interests I enjoyed a lot. (FdW)
RhaD – METAMUSIC Label: Unexplained Sounds Group – USG066 Format: CD, Album, Stereo Country: Italy Released: 18 Jun 2021 Style: Musique Concrète, Experimental, Abstract
RHaD (Research for Historical Audio Documents) is a side project of Raffaele Pezzella (better known as Sonologyst). What Pezzella brings us here is a concrete example of something of what I have always believed – that ALL sound is music, whatever its source (radio transmissions, telephonic conversations, hi-fi test signals, old and forgotten documentaries, unknown field recordists). More than that, there is something else that goes beyond the simple creation of seemingly random sound collages; there is no doubt that here we have the uncovering of secret worlds and other realities, existences parallel to ours and yet separated by vast temporal and spatial distances. Here we have recordings and found sounds that have been manipulated in such a way as to render their contexts irrelevant and meaningless. Subtle concatenations of sound and substance, mood and context, in some instances creating a sense of otherness, that what we’re hearing are broadcasts from dimensions and realities that are not the one we live in. It’s exactly like trying to tune into a specific station on a vintage radio set but you don’t quite know where it is: as you turn the dial this way and that, you catch glimpses of other lives and other existences playing out just like your own. They are of our world and yet not part of it either. These six “metasonic” messages from seemingly emanate from an unknown Otherwhere and that alone will entice us to listen further and more deeply, in the hope of catching something that will peel back the layers and give us what we’ve yearned for. And that, I think, is where the true beauty lies in this album.
Vetrophonia – Vizualizacija Label: Ultrasomnambula U – USU 01 Format: DVD, DVD-Video, Compilation, Limited Edition, Numbered Country: Russia Released: Apr 2017 Style: Experimental, Industrial, Noise
Tracklist 1 – Тридцать Три И Одна Треть – Шумовизуальная Поэза (2014-2016) 33:40 2 – Столетие Манифеста «Искусство Шумов» Луиджи Руссоло (Концерт В ГЭЗ-21. 11.03.2013) 31:22 3 – Обращение Дев Непорочных Голубицами Небесными (Концерт На Пушкинской-10. 03.08.1996) 49:00
The video disc «Vizualizacija» by St. Petersburg-based project Vetrophonia (Alexander Lebedev-Frontov & Nick Soudnick) consists of several parts. First of all, this is the completely new multimedia album created in 2013-2016 with the help of Yuri Kovalskiy (Worms, Monument Straha), entitled «33 1/3». The album is comprised of the carefully crafted half-hour long collage of various industrial and retro-futuristic sketches, analogue video-noises and meticulously constructed soundtrack perfectly matching the visual part. Despite the quite abstract nature of this work, it keeps the viewer in suspense during all its length and dense saturation of images is compensated by the peculiar sense of humour. The disc also contains the digital version of the live material «Turning Virgings Into Doves» originally released in 1996 on VHS, and the recording of a gig in Experimental Sound Gallery (ESG-21), St. Petersburg, played on 11.03.2013 to celebrate the 100-year anniversary of publication of the famous «L’arte dei Rumori» manifesto by Luigi Russolo.
Desde 2006 y a lo largo de los últimos quince años, el Incubismo surge y resurge de la mezcla de elementos estéticos, filosóficos y culturales que flotan y vuelan sobre un humus contradictorio y extraño. Su misión es desfigurar y transfigurar símbolos, ideas y objetos de la anodina cotidianeidad.
El Incubismo es una meta y un proceso. Objeto fractal. Grimorio fallido.
El Incubismo fue, es y será.
/ / /
«Los Sonidos del Rito» es un compendio y un inquietante legado de quince años de Incubismo, interpretado por escultores sonoros como Fluor (Fuente Luminica Universal Oscuridad Recíproca), Darío Martínez, Djinn7 y Avral. Sus obras habitan promiscuamente con los textos incubistas de Diego Arandojo.
Paisajes postindustriales, música concreta, electrónica experimental, ruidismo y atisbos de post-rock y shoegaze. Cada pista significa una comunión con la suciedad y la trascendencia. Cada sonido y cada palabra reflejan la monstruosidad que un incubo seductor y horrendo impregna en el incauto testigo / oyente / lector de la obra incubista.
Una cruel invitación a descender, gozar y sufrir.
Arte como Rito. Magia y Estética.
Pistas 1 y 2 son parte de “Ciclo de Thule” (2006) incluido en “Trilogía Incubica” (DVD/CD, 2011) editado por GH Records.
Pistas 3 y 4 son parte de “El Panóptico del Incubo” (2006) incluido en “Trilogía Incubica” (DVD/CD, 2011) editado por GH Records.
Pistas 5 y 6 son parte de “Opus 23” (2007) incluido en “Trilogía Incubica” (DVD/CD, 2011) editado por GH Records.
Pista 10 es inédita y fue compuesta en 2008 y remasterizada en 2021.
Since 2006 and over the last fifteen years, Incubismo arises and resurfaces from the mixture of aesthetic, philosophical and cultural elements that float and fly on a contradictory and strange humus. Its mission is to disfigure and transfigure symbols, ideas and objects of nondescript everyday life.
Incubismo is a goal and a process. Fractal object. Failed grimoire.
Incubismo was, is and will be.
/ / /
«Los Sonidos del Rito» (The Sounds of the Rite) is a compendium and a disturbing legacy of fifteen years of Incubismo, performed by sound sculptors such as Fluor (Fuente Luminica Universal Oscuridad Recíproca), Darío Martínez, Djinn7 and Avral. Their works inhabit promiscuously with the incubist texts of Diego Arandojo.
Post-industrial landscapes, concrete music, experimental electronic, noise and glimpses of post-rock and shoegaze. Every track means a communion with dirt and transcendence. Every sound and every word reflect the monstrosity that a seductive and horrendous incubus impregnate in the unsuspecting witness / listener / reader of the incubist work.
A cruel invitation to descend, enjoy and suffer.
Art like Rite. Magick and Aesthetics.
Tracks 1 and 2 are part of “Ciclo de Thule” (2006) included in “Trilogía Incubica” (DVD / CD, 2011) issued by GH Records.
Tracks 3 and 4 are part of «El Panóptico del Incubo» (2006) included in «Trilogía Incubica» (DVD / CD, 2011) issued by GH Records.
Tracks 5 and 6 are part of “Opus 23” (2007) included in “Trilogía Incubica” (DVD / CD, 2011) issued by GH Records.
Track 7 is previously unreleased and composed in 2009.
Track 8 was included in “Las Playa de los Muertos” (2019), digital edition by Incubico Sonoro: incubicosonoro.bandcamp.com/album/la-playa-de-los-muertos
Track 9 was included in “Trilogy I: El Goce del Silencio” (2019), digital edition by Incubico Sonoro (2019): incubicosonoro.bandcamp.com/album/avral-el-goce-del-silencio-trilog-a-i
Track 10 is previously unreleased. Composed in 2008 and remastered in 2021.
Todos los textos son de Diego Arandojo. Material compilado y masterizado por Fluor y Darío Martínez.
All texts by Diego Arandojo. Compilated and masterized by Fluor and Darío Martínez.
Industrial Complexx Vol.4 Magazine Edición Especial (Spanish) Label: Industrial Complexx – ICV004 Formato: Tamaño 12″, Tapa Blanda Idioma: Español 24 Nov 2020
/// ESP ///
Industrial Complexx presenta su proyecto más ambicioso hasta la fecha. La cuarta edición del magazine es una edición especial, con formato extenso de 32cm x 32cm, emulando las 12 pulgadas del vinilo, y con más de 110 páginas dedicadas a la escena industrial y experimental que surgió en los primeros años de democracia en España, a los 40 años en activo de Esplendor Geométrico, banda pionera en la corriente industrial nacional y muy respetada fuera de este país, y a algunos de los pesos más importantes de este movimiento contracultural como Francisco López, Rafael Flores, Stahlfabrik, Alonso Urbanos, Miguel Ángel Martín, Andrés Noarbe, Marcel·lí Antúnez, o figuras internacionales como Maurizio Martinucci o Uwe Schmidt. Contado todo por ellos mismos y por otros artistas como Erizonte, Escupemetralla, Pedro Peñas (HIV+), Miguel A. Ruiz, Moritz Reichelt, Dirk Ivens, Marcelo Expósito, Ángel Molina y Oscar Mulero.
Dirección y diseño de la publicación: Ximo Noguera Diseño gráfico: Iván Galíndez Artista gráfico de portada: Mimusa Colaboradores: Juanma González, Giulia Scrocchi.
/// ENG ///
Industrial Complexx presents its most ambitious project to date. The fourth edition of the magazine is a special edition, with an extensive format of 32cm x 32cm, emulating the 12 inches of vinyl, and with more than 110 pages dedicated to the industrial and experimental scene that emerged in the first years of democracy in Spain, to the 40th anniversary of Esplendor Geometrico, a pioneering band in the Spanish industrial movement and highly respected in the rest of the world, and some of the most important figures in this Spanish counter-cultural movement such as Francisco López, Rafael Flores, Stahlfabrik, Alonso Urbanos, Miguel Ángel Martín, Andrés Noarbe, Marcel-lí Antúnez, or international artists such as Maurizio Martinucci or Uwe Schmidt. All told by themselves and by other artists such as Erizonte, Escupemetralla, Pedro Peñas (HIV+), Miguel A. Ruiz, Moritz Reichelt, Dirk Ivens, Marcelo Expósito, Ángel Molina and Oscar Mulero.
Direction and layout of the publication: Ximo Noguera Graphic design: Iván Galíndez Cover graphic artist: Mimusa Collaborators: Juanma González, Giulia Scrocchi.
Lex-Or – Futuro Pasado Label: Fill-Lex Records – FLCS-05 Format: Cassette, Album, Special Edition, Limited 25 copies Country: Spain Released: 10 Oct 2020 Style: Techno, EBM, Experimental
/ / / ESP / / / Lex–Or vuelve a Fill-Lex Records con su primer álbum en solitario, canciones que marcan un fin de una etapa. El disco está compuesto de dos partes:
Futuro, temas compuestos entre 2019-2020 una mirada crítica hacia un fin que nos envía cada día a lidiar con nuestros propios miedos y nuestras inseguridades. No es música de baile es música desde las entrañas.
Pasado, canciones compuestas en un periodo anterior, desde un directo en su estudio en 2014 con la canción paisajes cerebrales, a algunos temas que pasan del 2015-18, estando más próximos a la pista de baile y a sus patrones más rítmicos, volviéndose un techno oscuro y decadente.
/ / / ENG / / /
Lex-Or returns to Fill-Lex Records with their first solo album, songs that mark the end of a stage. The album is composed of two parts:
Futuro, songs composed between 2019-2020 a critical look towards an end that sends us every day to deal with our own fears and insecurities. It is not dance music, it’s music from the bowels.
Pasado, songs composed in a previous period, from a live in his studio in 2014 with the song “Paisajes Cerebrales”, to some songs that go from 2015-18, being closer to the dance floor and its rhythmic patterns, becoming a dark and decadent techno.
Futuro – tracks 2019-2020 Pasado tracks 2014 – 2018 Mastering en Sountess Studio
Laser Dracul – Hagridden (Vinyl, Clear/Red Blood) Label: Majestic Mountain Records – MMR-011 Format: Country: Sweden Released: 25 Sep 2020 Style: Doom Metal, Stoner Rock
«After a successful and highly acclaimed self-titled debut album at Vân Records (2016), the Swedish doomsters ‘Laser Dracul’ is back with their sophomore album Hagridden! 6 new songs that are slower, heavier and even more groovy this time or as fellow countryman Yngwie J Malmsteen would say; ‘More is more!’. «
Tracklist: 1. Ashes & Dust 2. High tide striding 3. Into the night we go 4. Now you see it 5. Ill in Spirit 6. Mother Midnight
Traje De Saliva – El Cuerpo Y La Ciudad Label: Splat – sp 004 Format: CD, Single Country: Spain Released: 1999 Style: Industrial, Avantgarde, Ambient
/ / / SOLD OUT / / /
«El Cuerpo y la Ciudad es un álbum de claroscuros, tan sólido y firme en sus pretensiones que reconvierte a Satie en el precursor del expresionismo y dota al género gótico de una ingenuidad extraña y malévola. Música, en definitiva, como ese día soleado de primavera que de repente acaba engullido por amenazadoras nubes grises. Escúchalo a todo volumen y tan a menudo como puedas, porque esto es francamente bueno».
Rafa Dorado. Margen, revista de músicas innovadoras
