Dedali

Dedali is born in 2007. The backbone of Dedali's music is a collection of nearly 10 years of field recordings. His sonic equipment is completed by some electronic devices. In 2008 in collaboration with Disruptor the multimedia project series "La Fin Du Monde" is started. The series receive excellent reviews worldwide. Dedali's music is described as Nightmare Ambient Electronics, Post Nuclear Music, Armageddon Music. Dedali is currently working on a collaboration album with Maurizio Bianchi / M.B. and on La Fin Du Monde Vol.3. .













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Disruptor

Director of experimental short-video from 25 years,has directed more than 20 short-video. Is involved with Dedali in the multimedia project La Fin du Monde since 2008. Besides being director of his videos he has collaborated with other directors as first assistant director,cameraman and editor. Currently engaged in other three volumes of La Fin du Monde,the fourth segment is a tribute to the cinema of the late director Jean Rollin and a medium-length video tentatively titled Persona.










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Siegmar Fricke / Pharmakustik

Siegmar Fricke started his first musical experiments in 1981 using tape-recorders and shortwave-radio signals to create collages of musique-concrète that have been recorded on various cassettes. After intense activities in the European tape-scene between 1985 and 1993 Siegmar Fricke founded the project Efficient Refineries together with Miguel A. Ruiz (Orfeon Gagarin) from Madrid. Further CD-collaborations with the Italian sound-artist Maurizio Bianchi were realized: ENDOKRANIOSIS (on Tibprod/Norway), STROMA~KONKRET (on Monochrome Vision/Russia) and PRIMORDIUM (on Theeasternfront/Israel). Siegmar Fricke characterizes his musical works as "Pharmakustik": Pharmakustik might be a new path of sound-innovation in today's technological music that often lacks the approach of profound sound-experimentations by focussing just on preset-sounds, melodies and familiar song-structures. Pharmakustik instead consists of reduced and syncopated rhythmic patterns, clinically filtered ambiences generated by sampling-technology, electro-modulated voices and linear structure; in detail all single audio-elements are completely modulated by various electronic devices. The current working-principle is characterized by organic improvisational studies: inside the Pharmakustik-studio several analogue and digital machines are playing simultaneously and the acoustic results are recorded straight to disc. Afterwards these basics are re-treated with a wide range of computer-plug-ins and then mastered. In addition, intense studies of medical texts and terms are made to embed the resulting audio-works into a concept and to find subjective titles/concepts for them. The main aim is to create music far beyond existing musical borders: pharmakustik free-form electronics on a high abstraction-level without any involvement of conventional equipment or familiar structures. Some pharmakustik-netreleases such as CEREBROPHONIE (published in January 2008 on the Russian D.N.A.-label) involve magnetophone-treatments in the style of late 60s-psychedelia and musique-concrète. SF also continously works on the acoustic treatment of basics delivered by Maurizio Bianchi. Siegmar Fricke has just released his newest netalbum CHEMODULATOR on BYPASS (China); this work contains sequential organics of machinistic fluidity...music of 100% innovation never heard before in this form. A new genre is born: Plasmoglitch.

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Tetsuo Furudate

Tetsuo Furudate (born in Tokyo) started his career in experimental firm and video art in 1981. From the middle of 80's, he gradually turned toward music through performing art, contributing to the development of the Japanese noise music in its early period with other pioneers such as Merzbow. He has spread his activities throughout Europe since 1998, with many concerts and CD releases, collaborating with Zbigniew Karkowski, Kasper T. Toeplitz and Leif Elggren. He achieved the premier show of his newest experimental noise opera,"Othello", at Podwil in Berlin in 2001. He stayed in Berlin as a artist residence of Podewil in 2003. During this time he held premieres of "Wozzeck" at Podewil in Berlin and "Auditory Sence of Mr.Roderick Usher" at Dresdner Zentrums für zeditgenössische Musik (DZzM) in Dresden. "Auditory Senced...."won the BLAUE BRÜCKE prize 2003. He has collaboration works with Achim Wollscheid, Lillevän, Akemi Takeya, Sigrid Schnückel and many more.

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Patrizia Oliva

I'm an improviser and I start to perform under the name of Madame P. Today I use this name just for my solo works, otherwise with other musicians, I use my simple name Patrizia Oliva. I'm using mainly the voice as an instrument, in addition to various electronic instruments as the loop station, diktaphone, delay, contact microphones, musical boxes, objects, etc. My live set is pure free improvisation, except sometimes I use for small electronic parts that I have pre-recorded, on which, however sudden. My research - which I uses only a marginal elements of the folk tradition - is aimed at a redefinition of contemporary solo singer; my performance is also gestural and transcendental. I work on radical and experimental music and the research is not standardized. I'm interested to crystallize moments as if they were to become carpet sound of melodies and pure noise. Improvising is not no-composition, it's just that everything happens in that one moment it is instantaneous composition. What leads me to make music today is try to be conscious expression of the cosmos. I start to play bass in 1998 with a female band called Allun, then i start different collaborations which i quit, like Rosas y Tulipanes, Macaya and Toba. In these first years i worked also with Andrea Marutti and his execellent Afe Records. In May 2007 I gave life to a duo called Camusi along with the great italian drummer and musician Stefano Giust; he also run a label called Setola di Maiale. Our first self-titled album was released on April 2007 and it was recorded at Lab12, my old house/artspace in Italy. In 2008 a new trio give life to Gravida, an improvising psichedelic noise female band, with me on vocal and eletronics, Maryclare Brzytwa (USA) on flute, piano, eletronics, laptop and IoIoI on electric guitar, voice and electronics. We had recorded our first album through Incisioni Rupestri and, on January 2010 a second album come up from Setola di Maiale: it's a special and totally acoustic recording ensemble with Kanoko Nishi on koto and Stefano Giust on objects and voice. With Ninni Morgia on guitar, Silvia Kastel on synth and voice and Stefano Giust on drums I gave life to Carver, a project between experimental rock and improvised music. Raw is our first release, published by Setola di Maiale. My latest project is Gamra, a quartet with Paed Conca (CH) on clarinet and prepared electric bass, Eugenio Sanna on electric guitar and Stefano Giust on drums: our music is landed in the field of improvised and contemporary music. I've been touring through Italy, U.S.A, Scotland, United kingdom, The Netherlands, France, Germany, Spain, Portugal, Switzerland, Slovenja, Belgium and Austria. In early autumn of 2010 i create a blog named Tone Um, which it is mean in ancient language sounds around. In this page I want to show you my research in field-recordings in this contemporany wildworld. I have improvised with: Andrea Marutti, Tristan Honsinger, Luca Sigurtà, Pamelia Kurstin, Luca Pagani, Roberto Bellatalla, Nora Keyes, Stefano Giust, Gino Robair, Tommaso Rolando, Marco Ravera, Dominik Gawara, Herb Diamante, Jacopo Andreini, Metuo, Stefania Pedretti, Katia Zinichino, A034, Bruno Dorella,Splinter vs Stalin, Virgilio Villoresi, Blanche, Tommy Greenwood, Paul Baran, Radikal Satan, UR, Alessandro Calbucci, Xabier Iriondo, Merlina Moreno, Sektor 304, Francesco Cavaliere, Claudio Gavina, Bjerga, Iversen, Serraglia, Stefano Migliosi, Cherry Blossom, Marino Josè Malagnino, Rinus Van Alabeek, Francesco Calandrino, Jeff Gburek, Mat Pogo, Zazie, Alessandro Buzzi, Roberta JD Meatball, Walter Belloni, Viclarsen, Bugo, Claudio Parodi, Harshcore, Jeremy Stone, Arno (Zea), The Giants of Gender, John Bennet, Claudio Rocchetti, Marco Carcasi, Renato Ciunfrini, Jean Borde', Cristiano Luciani, Ioioi, Daniela Marcuzzi, Cazzurillo, Vonnemaun, Gustavo Costa, Henrique Fernandes, Nicola Guazzaloca, Bologna Improvisers, Love Shark, Tuia Cherici, Edoardo Ricci, Maryclare Brzytwa, Paed Conca, Jean-Michel Van Schouwburg, Marco Loprieno, Guy Strale, Goatgirl and Ely, Destroy Beethoven, Aldo from Palustre, Federica Maglioni, Gianni Mimmo, Chris Iemolo, Kanoko Nishi, Hannes Krebs, Mario Rechtern, Martin Wichtel, Stefan Krist, Eric Arn, Kilian Schrader, Herbert Lacina, Maurizio Bianchi, Alessandro Baris, Beppe Scardino, Sara Mayer, Marco Calcaprina, Eugenio Sanna, Fabrizio Puglisi, Ninni Morgia, Silvia Kastel, Pino Montecalvo, Edi Leo, Vincent Davis, Burkhard Friedrich, Sasha Demand, Sebastian Reier, Jürgen Hall, Anthea Caddy, Dicofone and many more.

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Murder Corporation

M.C is born in 1992, nearly as a joke. The name was chosen later as i felt that fitted perfectly the content of the music that i was making. I started listening to Heavy Metal, Punk, Hardcore, moving later to Dark Gothic EBM and finally Industrial music. The first Industrial record i got into was “Discipline” by T.G. . The people who influenced me the most were Merzbow and particularly Boyd Rice. Also William Bennet and Kevin Tomkins inspired me. For the first recordings i used mostly tapes, noises, short waves and distorted voices. Successively I adopted a sampler Akai s01 and a tone generator (V.C.O).

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NUN

NUN was Ezio Albrile.
NUN was one of the first Italian Industrial act active in the early 80s.

A LOT OF NOISE FOR NOTHING by Ezio Albrile (May 2008)

It's a common habit among teenagers that existential torments are in relation to sex, drugs and rock'n'roll. Not taking into account sex and drugs, when I had that age music soon became one of my favourite interests. When I was about twenty years old, a schoolmate, Massimo Chiesa, who I still greatly admire, enabled me to make the transition between Beatles and Rolling Stones to a "higher" and more up-to-date music. He introduced me to what was the most popular music at the time, the so called "new wave" and in particular to the new born "industrial culture". Together with Massimo we gave birth to a music project called Psychopathic Blossom, a mix of wave, noise and industrial music. In the band there was also a third member, maybe the main member because he owned a reel to reel tape recorder and most of the instruments. I shamefully don't remember his name. We self-produced a homemade cassette, which was well perceived by Turin music critics (the young Alberto Campo and Renato Striglia of Radioflash). Some years later, when I was well accustomed to the recesses of noise and industrial music, I decided to self-produce , with a 2 years wage as a conscientious objector, a 7" that was a bit a synthesis of all the noisy things, that I was mixing up. The record, that Federico Guglielmi called "industrial appliance", was the result of a very archaic technology : pre-recorded noises filtered through a monophonic synthetizer, compulsated in a sound texture beat by a drum machine randomly programmed. All this was NUN, an acronym that stood for Nacht Und Nebel, a (neo) nazi quotation that reflected the use, at that time considered very trendy and "provocative", to retrieve death simulacrum and turn them into icons, ghosts of a past, that we thought it would never come back. Only later, I got to know that NUN is also the thirteenth letter of the ebraic alphabet, its shape should recall a boat, or better an ark that saves the chosen ones : a not-casual circumstance that marked the beginning of a new path for me. The record indeed also represented a motive of meeting and clash between different personalities and cultures, such as Maurizio Pustianaz (it's also thanks to his philological attitude that the re-issue of the record and other works was possible), Maurizio Bianchi (who in a short time began a questionable religious path) and the Italian Industrial Music great guru Vittore Baroni. The 7" was distributed by Giulio Tedeschi, one of the first Italian independent producers: Tedeschi, in spite of his apparent solidarity, didn't believe much in my project. The record practically didn't circulate: this episode is the origin of a conflict between Vittore Tedeschi and me that lasts to this day. It has been said that the myths and the images exhibited by the Industrial Culture intended to exorcise a past that we thought concluded. However, the facts and daily reality have tragically denied these expectations: recent history shows us a society and a "civil" world in which violence and genocides have mutated, proposing them again at the level of local conflicts. Totalitarianism has presented again under a different form, a "soft" and narcotic global well being. Perhaps it is the "Globalization" that the Industrial Culture wasn't able to predict and exorcise. At that time the feared Apocalypses were those of war and implosion; there were talks of bombs, the last discovery being the neutron bomb, the "cold bomb" able to plan and enable the repopulation of an area subjected to its effects. But it turned out that human madness has been much more poisonous than what mentioned above. The industrial Culture, once exhausted its original predominantly social impulse changed in a sort of magic ritualism. A mutation that has continued joining the opposite, at the "magic of the extremes". Therefore, we had the pleasure of seeing the Italian followers of anglo-saxon magic spermatization, transforming them into intransigent inquisitors paid by a Catholicism in decay. I have never vomited on the cultural value in which I always made reference to: the "true" (neo) nazists years later insulted me and made fun of my music project on one of theirs scanty publications. I leave to them, to the "Cari Camerati" , the wreckage of a culture that the Industrial Music has celebrated as a world to be forgotten.

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LASIK SURGERY

Lasik Surgery is Pierpaolo Zoppo (Mauthausen Orchestra) and Gianluca Favaron (Ab'she,Under The Snow).

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