Lou Reed, John Cale, Velvet Underground, Iggy and the Stooges, MC5, David Bowie, Brian Eno, Kraftwerk, Can, Faust, King Crimson, Neu, Amon Duul, Van Der Graaf Generator, Hawkwind, Yoko Ono, John Zorn, Miles Davis, Ornette Coleman, Albert Ayler, Sun Ra , John Fahey, Neil Young, Quicksilver Messenger Service, Blue Oyster Cult, Tony Conrad, Patti Smith, Television, Black Flag, Germs, John Lydon, The Clash, Adam and the Ants, Bauhaus, Siouxsie and the Banshees, Killing Joke, Joy Division / New Order, Wire, Julian Cope. Throbbing Gristle, PTV, Chris Carter, Coil, Cosey Fanni Tutti, Genesis P- Orridge, Current 93, Nurse With Wound, Hafler Trio, John Duncan, Maurizio Bianchi, Merzbow, Lustmord. SPK, Boyd Rice, Cabaret Voltaire, Einstuerzende Neubauten, Whitehouse, Zev, Hijokaidan, Masonna, Boredoms, Napalm Death, Earth, Godflesh, GRIND / DEATH / BLACK / DOOM, Skullflower, Sonic Youth, Diamanda Galas, Michael Gira, Lydia Lunch, Nick Cave, H.P. Lovecraft, Clive Barker, Bruce Sterling, David Cronemberg, David Lynch, Derek Jarman, Kenneth Anger, James Ballard, Philip K. Dick, William Burroughs, Michael Moorcock, Iain Sinclair, Robert Anton Wilson, Alan Moore, Grant Morrison, Jeff Noon, John Shirley, Rudy Rucker, Richard Kadrey, Jean Baudrillard, TOPY, Alesteir Crowley, A.O. Spare, Peter Carrol
Sounds Like
rolling lava, shrieking like the ghosts of million of apocalypses...
This is P.NG5361.B and since 1985 I have been working with Eraldo Bernocchi (http://www.myspace.com/eraldobernocchi, http://www.eraldobernocchi.net/) and Luca Di Giorgio (as well as a long list of friends and collaborators) as SIGILLUM S (http://www.sigillum-s.com/ ), an Italian post - industrial audio project of many different natures, where concepts have led the effort and employed sound as a tool for the exploration of the forbidden areas of the subconscious: the result has been a endless paradigm of alien electronic mutations, merging concrete noise research with acoustic transmigration, while visuals and many other forms of media have been also adopted, in order to achieve maximum interaction intensity. Ours is a glowing blend of occult anomalies, fringe science and esoteric carnality: here are a few compact references I wrote years ago for some of our key releases--- SIGILLUM S-"BOUDOIR PHILOSOPHY": the first album, dealing with DAF De Sade s philosophy thoughts and representing an imposing declaration of intents, emerging from endless symphonies of vocal agonies, ethnological references and rectified walls of tone.--- SIGILLUM S-"BARDO THOS GROL": a very special project, originally released as private edition of 108 tapes and then re-issued as a CD, this is re-interpreting inputs from the Tibetan Book of Dead. All the material features only original Tibetan and Nepalese instruments, treated via various particle permutations and merged with vocal rituals. This is an extremely focussed example of our approach to sound as documentation and key for gates to the unknown: moody and dense, a spiral of electro-acoustic clusters of fear and revelation. --- SIGILLUM S-"KLIMAX AXIS": here we started shifting our early drones and layers into concentrated outbursts of maniac consistency, reaching out for initiatory spasms of disjointed rhythms and super saturated vocals. Originally released in late 80s as tape only (between the first 2 LPs), this was later re-released as a limited vinyl-only edition.---
SIGILLUM S-"STUDS AND DIVINITY": another originally tape-only release, recorded and published at the very beginning of the 90s, as a kind of introduction to a new phase interfacing physical performance with movie-like soundtracks, this deals with cryptic physics and frontier culture, probing border lines between oblique structure and coarse matter. A powerful reference for things to come, pushing harmonies into circuits and generating achromatic grief in return.---SIGILLUM S-"HALLUCINATED MOISTURE OF SYNAPTIC SLAUGHTERHOUSE: the 2^ LP issued originally in 1991 and then collected with a 12 [Mutilated] into a global CD re-release), where the themes of mind deviation and psycho-social behavior provided the basis for 23 compact sound explosions, ranging from delicate pitch dissection to brutal data overload: from a similar perspective, but with a different form a deranged sight-seeing of the inner regions of the human mind. ---SIGILLUM S-"CYBERTANTRICK QUANTUM LEAPS": with the digital era providing both new machinery and subjects, we created this in the early 90s, giving birth to a distinct brand of proton dissemination, where pulse and vibration collapse into angular jazzy twists and peculiar automations. Looking for bastard offspring from the debris of Information Technology, this filters across genres and brings in classic textures together with infra-low basses and ultra-high shrieks, in a contemporary arena for virtual sanctity.---SIGILLUM S-"HELIX PARASITES": built (in 1993) on the idea of genetic modification via new channels, this is probably our most diversified and composite work so far. With a strong trend for rhythms and subliminal pipes, it has at the same time some of the most outlandish moments in digital psychedelia, where tons of events seem to happen in parallel. This is the voice of the incisive nucleus of newly born cells, extracted from the dreams of an artificial intelligence still to be conceived: lines of atomic maps draw themselves into a screen where songs and discord eruptions may co-exist.---SIGILLUM S-"ABSTRACTION": released in 1999, here we used robust degradation and deep-rooted throbs to build transcendent objects. Tapping and hisses inflate the listening spectra with oblique passion for exotic territories, where dots become living entities and shuffle across lab displays.. a soaring indulgence for diverse iota fragmentation.--- For more details on all releases, refer to our web site and to http://www.discogs.com/artist/Sigillum+S---In 1993 I have also started SSHE RETINA STIMULANTS (SRS), where I have been dealing with audio and visual extremes of all kinds, generating a pretty significant number of releases for labels throughout the world, as well as presenting stage performances of specifically intense nature.: since then, SRS has been busy sharpening all the edges of excessive dissensions and notions, implying multiple turnovers of neglected, infected and devastated confines. ---The SSHE acronym stands for Super Sound High Energy which, when linked to RETINA STIMULANTS is intended to conjure a strong citation of sensorial synesthesia, with hyper intense acoustic frequencies inducing overwhelming visions.---In fact, it all goes down into the subliminal arena, where no real distinction exists among neural signals and cognitive dynamics, where pulses and ideas become a fluid stage for matter to be born out of energy: rather than adopting standardized formulas, I am targeting an immersion into the hidden tanks of this primeval pool, coming back with odd beasts of unclear origin, disorderly entities with a twisted brain, a huge sensual drive and the tendency to consider themselves actors in an endless misshapen TV series.
Right there its where I have always wanted to place my projects, thinking about myself more as a conceptual sound producer or (better) a noise-movie director than anything else.---From an operative stand point, the power and subtleties of the screen show have always attracted and inspired me, providing formal basis for a different kind of sound making, where the subject is usually well defined and the tumult script is conceived as an integrated unity of instrumental choice and a-tonal derangement:
the intended effect is a mixture of subjective representation of inspirations and descriptive process of sensorial output, relying on a shifting platform of events and effects to generate a truly multi-layered shape.---I have been refining a method where visual reference / approach permeates the sound structure, feeding then back to precise images (both on partition and/or cover format) to fully complement the results.---The video creations have been extensively used to draw and embrace the audience into our acoustic phenomena and then suck them further into the emotional and cerebral pits where we dwell: the SRS videos and audio-visual live performances are a good example, with a melt propaganda / visual nucleus collapse built using source materials shot in various urban locations of special relevance (abandoned suburbs, non-operational factories, motor ways, railway stations, etc.) the scope is a sensorial re-mapping / re- programming of orientation / prioritization in contemporary social traffic.---
Refer to http://www.discogs.com/artist/Sshe+Retina+Stimulants for more details on the various releases.---More recently, KOMPLET has also started, in order to have the appropriate environment for more rhythmic solutions. additionally, when fanfares and blows collide in a frenzy of peripheral philosophy and cabbalistic skill, SRS & KOMPLET merge definitions and explode together !---Refer to http://www.aferecords.com/ (Releases section / Afe [standard / limited editions 001-025] / afe013lcd KOMPLET FEWER MOLECULES THAN DESERVED ) for more details.---SIDRA in my newest project, a collaboration with Tiberio Longoni (Peter Sellers & The Hollywood Parties, 198X, etc.) where post noise guitar canals mate with desk top jazz and redefine blues as heard from the ears of hybrid creatures from a Yellow Lagoon:refer to http://www.aferecords.com/ (Releases section / Afe [standard / limited editions 076-100] / afe082lcd SIDRA A SWAMPADELIC BLESSING OF DOWNTOWN SF - THE OFFICIAL BOOTLEG ) for more details.
---Besides SIGILLUM S, SRS, KOMPLET and SIDRA, I have also been contributing to a number of other projects (such as IUGULA-THOR, THE SODALITY, APOCALYPSE FANFARE, HELIX and many more), as well as getting involved with writing at different level (the Italian MANUALE DI CULTURA INDUSTRIALE, articles and interviews in a few magazines) and with radio broadcasting.---A series of new releases for SIGILLUM S, SSHE RETINA STIMULANTS and SIDRA are expected to be released shortly: full past / present / future details are going to be available soon on our http://www.sigillum-s.com/ web site.
_________________
APRIL, 2006
The phenomenon is tunable in that the characteristic sounds and intensities of those sounds depend on the characteristics of the RF energy as delivered... Because the frequency of the sound heard is dependent on the pulse characteristics of the RF energy, it seems possible that this technology could be developed to the point where words could be transmitted to be heard like the spoken word, except that it could only be heard within a person..s head. In one experiment, communication of the words from one to ten using ..speech modulated.. microwave energy was successfully demonstrated. Microphones next to the person experiencing the voice could not pick up these sounds.
The phenomenon is tunable in that the characteristic sounds and intensities of those sounds depend on the characteristics of the RF energy as delivered... Because the frequency of the sound heard is dependent on the pulse characteristics of the RF energy, it seems possible that this technology could be developed to the point where words could be transmitted to be heard like the spoken word, except that it could only be heard within a person..s head. In one experiment, communication of the words from one to ten using ..speech modulated.. microwave energy was successfully demonstrated. Microphones next to the person experiencing the voice could not pick up these sounds
BLACK ENGINE - LIVE IN ROMA (ERALDO BERNOCCHI + ZU special guest - FM EINHEIT) Visuals by Petulia Mattioli 9 APRILE 2008 @BRANCALEONE - Via Levanna 11 ROMA
