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.
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.
T.S.I.D.M.Z. & GE-STELL are both part of EAA (Eurasian Artists Association)
«Counter-Tradition Report» introduces the listener to the protean and disturbing world of modern pseudo/post religiosity: the Neospiritualism.
The album in composed by eleven chapters, each one dedicated to a different current or expression of the phenomenon, according to R. Guénon’s and J. Evola’s taxonomy and interpretation.
A wide range of sonorities are used to describe the eclectic and syncretistic nature of Neospiritualism; every track combines different acustic elements according to the song’s subject peculiarities: from martial industrial to dark ambient, from vintage analogue synth sounds to 8bit digital glitch music, from traditional music samples treatments to weird and unconventional avant-garde electronics.
The entire album is filled by an oniric and surreal athmosphere typical of the sublunar/psychic dimensions; ambiguous presences are constantly evocated by the huge amount of vocal samples used to document one of the most controversial page of the occidental cultural hystory.
T.S.I.D.M.Z. & GE-STELL Counter-Tradition Report – «Phenomenology Of The Modern Pseudo-Spirituality»
Ouverture: Les Hommes Au Milieu Des Ruines [5.06]
T.S.I.D.M.Z. feat. Trèfle Noir (Voice) & Gregorio Bardini (Bagpipe)
Spiritualism: Dead’s Frequencies [5.33]
GE-STELL feat. Antonio Landa (Synth)
Speculative Freemasonry: Masters Of Wisdom (Superiores Incogniti) [8.49] T.S.I.D.M.Z. feat. Barbarossa Umtrunk (Synth & Samples) & Ekaterina Sofia Mutti (Voice)
Teosophism: Blavatsky’s Bells [4.46]
GE-STELL
Occultism: Togliete Dio E Il Mondo Si Riempirà Di Idoli [4.31]
T.S.I.D.M.Z. feat. Ekaterina Sofia Mutti (Voice)
Psychoanalysis: Phallus Of The Sun [5.16]
GE-STELL
New Age: Falsi Profeti [4.15]
T.S.I.D.M.Z.
Satanism: Rise Of The Consciousness [4.46]
GE-STELL feat. Giovanni Leonardi (Synth & Guitar)
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, GH Records 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.
Visions Of Darkness (In Iranian Contemporary Music) Label: Cold Spring – CSR242CD Format: 2 × CD, Album, Compilation Country: UK Released: 25 Sep 2017 Style: Dark Ambient, Drone, Experimental, Noise
The simurgh is depicted in Iranian art as a winged creature in the shape of a bird, gigantic enough to carry off an elephant or a whale. It appears as a peacock with the head of a dog and the claws of a lion, sometimes however, also with a human face. Iranian legends consider the bird so old that it had seen the destruction of the world three times over. The simurgh learned so much by living so long that it is thought to possess the knowledge of all the ages. We hope this mythological benevolent creature could be a hope and a a guide in our dark times.
Label: Zhelezobeton – ZHB-LXVII Format: CDr, Album, Limited Edition, Numbered Country: Russia Released: 15 Mar 2017 Style: Drone, Experimental, Noise
Uhushuhu, Ogni Videniy and Lunar Abyss – these three projects from St. Petersburg are long active in the boundless creative field of noise ambient and drone psychedelia. This split release contains one studio track from each project and one long collaborative piece recorded live at the sleep concert “Dryoma-9” in September 2015.
The boat of dreams carries us through complex soundscapes inhabited by a plethora of images. Natural organic sounds interwine with abstract synthesis drawing phantasmagoric paintings in our imagination. Electric noises and waves of unrestrained acoustic energy, the mysterious whisper of spirits and hoarse rumbling of a shaman, shards of memories and eventful illusions… This is definitely the music of bright colourful dreams!
The „schauzeichen ep“ is the most condensed kind of a summary of the sound of [multer] in its whole variety from 1997 to 2003. From abstract soundscapes with added field-recordings to hypnotically looping song-derivates or even shorter running proto-tech. ………and everything fits. The three-piece out of Dortmund, Germany produces timeless music, that may appeal to fans of Labradford, with its swirling, timestretched guitar-chords. But, also connoisseurs of home electronica and avantgarde music may like to give a listen as the group pays tribute to its own roots as ABGS – an industrial field recording ensemble – by adding a tissue of noises and found sounds to their
Label: Auf Abwegen – aatp30 Format: CD, Album, Limited Edition Country: Germany Released: 15 Dec 2015 Style: Abstract, Experimental, Industrial, Ambient
Hand stamped covers with insert. designed by Kallabris. 29 tracks of sheer joie de vivre form this manifesto of musical positivism. Reductionist on their acoustic surface, constructivist in their compositional core, the tracks themselves and in their sequence point to a sociological base: a sociology of sound or a sound sociology driven by the rough necessities of political acoustics. Advanced 4-track tape recording techniques struggle with primitive digital technology, thus forming a class of sound which contains itself as an element and attribute. The sublation of music reveals the revolutionary nature of movement in which its end becomes the condition of its beginning. Yes, beauty may really work differently – but it is necessity that elevates the sound to a static sculpture of dynamics. (Kallabris)
Label: Auf Abwegen – AATP 53 Format: 2 × CD, Album Country: Germany Released: 25 Oct 2015 Style: Experimental, Abstract, Ambient, Industrial
After more than 10 years of enthusiastic experiences and encounters with so-called „Difficult Music“ throughout the 1980ies Martin Peinemann and Asmus Tietchens deemed their somewhat differing approaches to making music compatible and agreed upon a loose collaboration in the year 1992. For various reasons (organizational and others) the work was not to take place at Audiplex studios but at Peinemann’s home studio. This modest lab featured all the necessary technical equipment needed to realize noise music meeting the standards of the day. This included an analogue 4-track-tape deck (9,5 cm/sec, Dolby noise reduction, integrated 6-channel mixer), soon after a digital 8 channel multitrack, a powerful periphery and sound producing devices of all kinds. For „Hochallee“, their first collaboration, Peinemann and Tietchens set trhemselves no definite deadline. The working sessions took place in an atmosphere of relaxation, usually on Saturday afternoons. By 1996 Peinemann and Tietchens finally had amassed a series of pieces they considered to be complete. At this time Peinemann began working on computer generated solo works and Tietchens moved on towards a more reductionist sound work.
“Klosterallee”, their second collaboration, was realized under completely different circumstances. In the years gone by since their last work Peinemann had deeply immersed himself into the field of extreme digital sound manipulation that he often discussed with Tietchens. From this collection of sound structures Peinemann offered some to Tietchens as sourcings for further treatments. The following expanding of these structures was not done in the form of sessions but executed by Tietchens alone over a period of three months. Peinemann then authorised the final results.
Unlike Asmus Tietchens Peinemann never released any music until now. He always valued the working process higher than the working result. The reason for this collaboration to finally come out as a double CD follows a noble motif that can be roughly translated as such: „A warning to the Old, an instruction to the Young.“ (Friedrich Gottlieb Klopstock, „Pädagogische Ergetzungen“, 1802).
