THE RITA – Female Statuesque 7″ + Insert (Ltd/No’d 200 Copies) Out Now!

The Rita - Female Statuesque
THE RITA
 – Female Statuesque (Female Titans) 7″ (4iB010)

Side A
1. Marie-Agnes Gillot (5:00)

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1. Ariana Lallone (5:00)

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The Rita - Female Statuesque 7%22 (Front Cover)

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> CYCLOBE – Visitors From Strange Galaxies by Karsten Wolniak

While it doesn’t really stay silent when it comes to two of the leading figures of experimental music, Cyclobe was surprisingly audible this year: Two concerts, during the CTM Berlin in January and the Unsound Festival in Krakow in October, and two reissued albums in March speak volumes. The Visitors, one of said reissues, was originally released 13 years ago. It lives up to its name: The album is filled with spherical and extraterrestrial sounds which may make one doubt that their creators originated from this planet.

Undoubted, however, is their adoration of the universe and nature, which strongly influences their music, allowing the listener to feel an authentic, pulsating touch of something living. A touch clearly recognizable within the wind murmuring through the leaves, as it appears in the record’s first track ‘Sentinels’. Even if you can’t quite put your finger on it, you’ll find nature within Cyclobe’s most cryptic, turbulent, and electronically altered soundscapes.

‘My pagan views influence my work in a profound way, it’s enormously important to me so it touches all aspects of my life, and very much so my creative work. It’s essential that our work conveys a sense of reverie, devotion.’, Ossian Brown names his spirituality as one of the predominant sources from which he draws said aural elements so closely linked to nature. ‘I don’t see how something electronic is any less pagan. In fact I’d like us to do a performance where all our electricity was generated by rotting vegetables.’, he states on the conflict that might be associated with these two key elements of their music.

The perhaps most earthly part of this otherworldly album is its new folk-like addition, the track ‘Son of Sons of Light’. A fruit of their labour with Michael J. York, whose bagpipes add an almost traditional aspect to the piece. The Visitors now provides almost an hour of ritual music for the accumulation of pagan energy – or alternatively, an hour of devotion to the vastness of the universe.

The reissue of Sulphur-Tarot-Garden contains no new track. Nevertheless, fans of experimental music have something to look forward to, considering that the original album, released in 2012 and dedicated to the English film director Derek Jarman, was strictly limited to 200 numbered copies. The whole album is an imaginative stimulus which provides more than 30 minutes of soundscapes that appear incredibly alien. While each piece of the album – ‘Sulphur’, ‘Tarot’, and ‘Garden of Luxor’ – has a very unique sound, they’re all united in their strangeness. An atmosphere created by mechanical stridulation and organic buzzing, a sound not quite conceivable. Something sacred, dedicated to the stars.

‘I can’t imagine not being interested in these things, the stars have fascinated me for as long as I can remember. It’s deep rooted in mankind in general really, to look up at the sky and wonder about the greater structure.’, explains Stephen Thrower their omnipresent interest in the universe, which runs like a golden thread through their work. ‘Star-light puts us in touch with the ancient past, too, of course. Light from the stars is millions or even billions of years old, these strings of photons ping against our retinas across unimaginable chasms of time. It makes your mind reel and your heart pound when you try to take in the enormity of the idea. Thinking about the beauty of the cosmos touches the same part of me that religion touches in others. I’d rather worship a pulsar!’

Ossian Brown explains the impact that their recreational drug use had on them, how their extraterrestrial sounds have – to a certain degree – a very terrestrial origin: ‘This experiences had an enormous influence on us, when you journey through these experiences, of course the effect remains, you return altered. I haven’t had any new experiences for many years, the last time was with Jhonn [Balance of the British experimental band Coil, which Stephen Thrower and Ossian Brown were permanent members of] in Russia, in the woods near Kaliningrad. I very much doubt I ever will again, but its fingerprints are all over my psyche. I’d say it’s certainly influenced our approach to composition, a certain sensibility that feeds into how we interpret sound and how we place it, the character we invest in it.’

He furthermore reveals that these two reissues won’t be all that we’ll be hearing from Cyclobe in the near future. The British music pioneers Stephen Thrower and Ossian Brown will soon be reaching out to us to share their impressions of planets yet unbeknown to us: ‘We’re currently working hard to finish our next full length album, the follow up to Wounded Galaxies Tap at The Window. Some of the pieces we’ve been performing versions of at our live concerts. We’re very excited and intrigued by the new work. We’re also working on a series of new recordings built around ideas I had been focusing on with my hurdy-gurdy. Initially the pieces came from combining the hurdy-gurdy with pipes, but the pieces have now expanded somewhat to include voice and electronics, Univox organs.’ It’s a stylistic characteristic of Cyclobe that the human voice serves as an instrument (as in ‘The Eclipser’) rather than by contributing any lyrical components.

The Visitors and Sulphur-Tarot-Garden can be ordered on CD or (double) 12″ vinyl LP from the shop on Cyclobe’s website.

(Source: http://karstenwolniak.com/2014/11/08/cyclobe-visitors-from-strange-galaxies/)

> THE RITA Live At Kunstpodium T in Tilburg on 14 Nov 2010

> This Music Bears Traces of Carnal Violence (An Interview with THE RITA by Kier-La Janisse for Spectacular Optical)

THIS MUSIC BEARS TRACES OF CARNAL VIOLENCE: An interview with THE RITA

(note: the following introduction appeared in an article I wrote for Rue Morgue Magazine, however the interview below is exclusive to Spectacular Optical)

THE RITA’s discography reads like a misanthropic agenda: Creature Drowning You(1996), Swingers Get Killed (1998), Weimar Whores (2004), Thousands of Dead Gods (2006), Headless with Leopard Skin (2009), and the list goes on up to more than 70 releases. The music itself is assaulting and invasive, embedded with the distorted screams of euro-horror starlets like Edwige Fenech, Susan Scott and Rosalba Neri – not that you would know it from the relentless layering of audio that makes up the deafening soundscape of scraping, crushing and collapse.

THE RITA is the harsh noise project of Sam McKinlay, a Vancouver-based musician, conceptual artist and film writer who has been considered a pivotal figure in the global noise scene since he started making tapes in his parents’ basement in 1995. Since then he’s done splits with TAINT/MANIA, RICHARD RAMIREZ and Black Metal band BONE AWL, played at avant garde festivals around the world, and loudly championed the inherent connection between harsh movies and harsh music.  McKinlay was kind enough to share some thoughts on the genre films that fuel his audio work.

Where did your interest in genre films come from, and how does it relate to your sound work?

Like many of us in our age bracket, JAWS was a major influence to seeing somewhat shocking violence for the first time – Ben Gardner’s head under his boat, Quint’s blood spitting death, etc.  Violence of nature that really struck a chord.  I have a heavy recollection of making parallels with scuba divers, snorkelers, and bloody deaths from years and years of a child concentrating on shark attacks, etc.  From there I vividly remember watching Mattei’s NIGHT OF THE ZOMBIES at a grade 6 birthday party – obviously not comprehending the nature of the golden era Italian gore releases.  At the same time I’d stare at box art at the video stores for what seemed like hours – the ZOMBIE and CITY OF THE WALKING DEAD photographs…they really struck a chord with gore drawings and comics I’d obsessively do at a young age.  The years spanned from European horror interests that spiralled into 90s Fulci, giallo, Bianchi, and Salo harsh noise tribute works as I found my first correlations and parallels behind the dynamics of italian horror films and harsh noise.  These days are spent with hours and hours of euro actress genre film studies that culminate into Laura Antonelli black nylon investigations, Ossorio and Loli Tovar NIGHT OF THE SORCERERS audio works, and other obsessed and incredibly specific conceptual works as I relegate what really drives my interests in the genre films.  Another facet of early filmmaking that really drives me is pre-code flapper actresses and their depictions in talkie old dark house/whodunnit films – most lately taking sources from the french cafe dance scenes of the masterpiece (easily one of the most perfect films and serial ever) BLAKE OF SCOTLAND YARD.

Your albums have covered a variety of genre influences but what are your current obsessions?

Right now I’m really into Italian WWII Frogmen. They were a part of a group called Decima MAS, and they were basically human torpedoes that would try to blow up ships that were parked in harbours. Anyways I got super into their whole scene.  I put out a 7” a while ago called SHARK KNIFING, and for the last while I’ve been using shark sounds because I went cage diving with great white sharks a few years ago and recorded some sounds of them banging on the cage and things like that, which is an obvious dynamic sound you can turn into harsh noise, because it has the aggression of the sharks and also the diving sounds. And the Frogman culture just seemed to parallel this.

Where did this obsession with Italian Frogmen come from?

“The frogmen interest comes frogman obvious interest in sharks and the scuba diver aesthetics that follow, but the recent complete obsession culminated from a few favorite films. Firstly, THE EMBALMER / MONSTER OF VENICE has always been a favourite giallo/horror film for me as the details are PINNACLE; a scuba diver going through the channels of venice, grabbing girls to kill and store, all the while changing into a hooded skeleton costume when he’s in his lair.  I have been heavily interested in the Krimi genre for some time as it is a natural extension for a giallo fan – or vice versa and one of the rarities that really hit me hard is THE INN ON THE RIVER (1962).  Agin, the plot’s details are hard to beat as a scuba diver is stalking the river Thames, killing his victims with a speargun, and he is known as ‘The Shark’(!!).  It also helps that there is a frogman knife fight during the film which i think it one of the greatest of all aesthetics – a diver with an unsheathed knife.  Horror / genre films for me lately have been incredibly aesthetic based as i delve further and further into the maelstrom of obscure titles.  One of the features of the recent frogman obsession – especially with the eventual dedication to the Italian WW2 frogman division The Decima MAS, is the krimi FELLOWSHIP OF THE FROG (1960) which features a masked murderous ringleader who is wearing a gas mask-like guise that it not unlike the Decima MAS full face masks that the soldiers wore.  Again, the krimis are largely aesthetic based – with many references to the 1930s and 40s US ‘old dark house/whodunnit genre with many different references to costumed characters, dark castles and atmosphere, etc. which giallo films avoided at large as they seemed to really sponge the 70s pop culture aesthetic (outside if films like SEVEN DEATH’S IN THE CAT’S EYES (1973). 

Did horror films have any bearing on your conceptual art projects? If so, can you elaborate or give an example?

During my BFA in the 1990s I remember doing a couple of pieces that integrated heavy eurotrash interests, but always with an Ad Reinhardt, Richard Serra or Barnett Newman minimalist suggestion.  One was a virtual tribute to THE VIRGIN OF NUREMBERG and BLOODY PIT OF HORROR where I constructed a coffin style black box that held down the participant, the head sticking out the end. The artist controls a water hose nozzle on the other end that effects the flow of water spilling into the participants face – virtually drowning them, but all the while the box signaling a compelling visage of late 60s minimalism.  One more straight forward piece was a puppet show stage I constructed that represented something like Russian Constructivism, but was built and centered around the john and eye gouging scene from THRILLER: THEY CALL HER ONE EYE.  The sampled dialogue played in the background as the visible artist worked the papier mache puppets through the scene.  One more performance piece I have to mention is pretending to eat dog food shared with a 2-D installed dog figure all while scenes from GIALLO A VENEZIA were projected on a large screen behind me. Simulated violence through structure, metaphors, director Mario Landi, actress Leanora Fani, and master producer Gabriele Crisanti.

——————–

- Interview by Kier-La Janisse

——————–

FOR MORE INFORMATION ON THE RITA: http://bakurita.blogspot.com/

(Source: http://www.spectacularoptical.ca/2011/05/this-music-bears-traces-of-carnal-violence/)

> THE HAFLER TRIO – Suitcase Live Event on 4 December 1990

> The Beauty of Noise – An interview with Masami Akita of Merzbow by Chad Hensley – EsoTerra #8, 1999

Merzbow was born in Tokyo in 1981, the bastard son of Masami Akita. Inspired by Dadaism and Surrealism, Akita took the name for his project from German artist Kurt Schwitters’ pre-War architectural assemblage “The Cathedral of Erotic Misery” done in his “merz” style– a confluence of the organic and the geometric. “Merzbau” referred to his houses. Just as Schwitters attacked the entrenched artistic traditions of his time with his revolutionary Avant-garde collages, so too would Akita challenge the contemporary concept of what is called music. Akita would draw further influence from the Futurist movement. Not only would he embrace the Futurists’ love of technology and the machine civilization, but he would push their fondness for noise to the very boundaries of the extreme. Working in his ZDF studio, Akita quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. Consequently, in 1982 Masami founded the first Noise label, Lowest Music and Arts. He would eventually coin the phrase “Noise Composition” as a description for his sound, and display his pre- recorded Noise via live performances. These presentations have included Akita’s electronics battling with traditional instruments like drums and guitar, as well as solitary shows with nothing more than the man standing before a table strewn with homemade equipment.

The full extent of Merzbow’s discography is probably only known to Masami himself, but the unofficial count has now surpassed 170 releases on cassette, vinyl, and CD on a diverse array of labels worldwide. In addition to Merzbow, Akita has performed with other Noise entities including Masonna, Melt Banana, Discordance Axis, Gore Beyond Necropsy, and Cock ESP. Besides creating Noise, he’s authored two books on extreme culture and is a freelance writer for Japanese pornography magazines. He has also scored Ian Kerkhof’s film, Deadman 2. Tauromachine is Merzbow’s latest collection of otological incendiaries. Released by America’s own Relapse, tauromachine is the sound of machinery operating on full speed in a mad scientist’s laboratory. The seven digital experiments presented run an aural gamut between hypnotic pulsations to violent dissordance. Each track offers the listener a disturbing journey into the deepest extremities of Noise with such ‘songs’ as “soft water rhinoceros”, “heads of clouds”, and “wounded cycad dub”. Some people claim to thoroughly enjoy Akita’s orchestrated cacophonies. Rest assured, his Merzbow project is not for the weak-willed or faint-hearted; a listener must be able to savor hissing static, grinding feedback, and almost unending distortion. Noise can be difficult to digest even for those who are appreciative of musical extremes, but it all comes off with a sinister ambiance that attracts as it repels. Given his commitment to and consummate production of Noise, the sonic artwork of Masami Akita is sure to usher in the savage sounds of the next millennium.

What first attracted you to Noise?

I was influenced by aggressive Blues Rock guitar sounds like Jimi Hendrix, Lou Reed, Robert Fripp and fuzz organ sounds such as Mike Ratledge of Soft Machine. But the most structured Noise influence would have to be Free Jazz such as Albert Ayler, Cecil Taylor, and Frank Wright. I saw the Cecil Taylor Unit in 1973 and it was very influential. I was a drummer for a free form Rock band in the late ’70s and I became very interested in the pulse beat of the drums within Free Jazz. I thought it was more aggressive than Rock drums. I also became interested in electronic kinds of sounds. I started listening to more electro-acoustic music like Pierre Henry, Stockhausen, Fancois Bayle, Gordon Mumma and Xenakis. Then I found the forum for mixing these influences into pure electronic noise. I was trying to create an extreme form of free music. In the beginning, I had a very conceptual mind set. I tried to quit using any instruments which related to, or were played by, the human body. It was then that I found tape. I tried to just be the operator of the tape machine– I’m glad that tape is a very anonymous media. My early live performances were very dis-human and dis-communicative. I was using a slide projector in a dark room at that point. I was concentrating on studio works until 1989 then I assembled some basic equipment before I started doing live Noise performances. Equipment included an audio mixer, contact mike, delay, distortion, ring modulator and bowed metal instruments. Basically, my main sound was created by mixer feedback. It was not until after 1990, on my first American tour, that I started performing live Noise Music for presentation to audiences. The first US tour was a turning point for finding a certain pleasure in using the body in the performance. Right now I’m using mixer feedback with filters, ring, DOD Buzz Box, DOD Meat Box, and a Korg multi-distortion unit. I am using more physically rooted Noise Music not as conceptually anti-instrument and anti-body as before. If music was sex, Merzbow would be pornography.

In America, pornography is often viewed as vulgar and offensive– especially to women. Are you implying that Merzbow is for men?

No. I mean that pornography is the unconsciousness of sex. So, Noise is the unconsciousness of music. It’s completely misunderstood if Merzbow is music for men. Merzbow is not male or female. Merzbow is erotic like a car crash can be related to genital intercourse. The sound of Merzbow is like Orgone energy– the color of shiny silver.

How did you get involved with tape trading through the mail in the early ’80s?

When I started Merzbow the idea was to make cheap cassettes which could also be fetish objects. I recorded them very cheaply and then packaged them with pornography. I got very involved with the mail art network which included home tapers like Maurizio Bianchi, Jupitter Larser of Haters, and Trax of Italy. Just as Dadaist Kurt Schwitters made art from objects picked up off the street, I made sound from the scum that surrounds my life. I was very inspired by the Surrealist idea “Everything is Erotic, Everywhere Erotic”. So, for me Noise is the most erotic form of sound. The word “noise” has been used in Western Europe since Luigi Russolo’s The Art of Noises. However, Industrial music used “noise” as a kind of technique. Western Noise is often too conceptual and academic. Japanese Noise relishes the ecstacy of sound itself.

You have been quoted as saying, “There are no special images of ideology behind Merzbow”– unlike the early Industrialists such as Throbbing Gristle, SPK, and Whitehouse that used shocking imagery . Yet you have repeatedly used pornography. Isn’t pornography a shocking image that creates a certain ideology, whether intended or not?

I have two directions in the use of pornography. In my early cassettes and mail art projects I used lots of pornography. I made many collages using pornography as it was a very important item in my mail art/mail music. I thought my cheap Noise cassettes were of the same value as cheap mail order pornography. These activities were called “Pornoise”. In this direction, I would say that I used pornography for it’s anti-social, cut-up value in information theory. I soon started to release Merzbow vinyl which was very different from the cassettes of this same time period. I think my vinyl works concentrated more on sound itself because I think vinyl is a more static medium. So, Merzbow went in two separate directions in the ’80s- a cassette direction and a vinyl direction. In the ’90s, these directions were mixed for one Merzbow. I know you’re thinking I’m still using porn images like bondage but these images are not porn to me. I use bondage images only for the release of connected works like Music for Bondage Performance I and 2 and Electroknots. My reasons for using bondage images are very clear- not for shock element but for documentary value. In fact, all bondage pictures I use are taken by myself. I know who the models are and who tied them up. I know the exact meaning of these bondage pictures. This is very different from people using Xeroxed bondage images from Japanese magazines. I know that there are many bondage images associated with Merzbow releases. But many of these releases use stupid images without my permission. I should control all of them but it is very difficult to control all products abroad. I don’t like the easy idea of using images without the knowledge of the image itself. So, it’s meaningless to create ideology by using pornography without the correct knowledge of the image itself.

What kind of reaction did you get when you started performing in Japan?

In Japan, the Noise audience looks very normal. I think most of them are middle-class salary men. Recently, we have more young, underground music types coming to a show. In the early days, the reaction was nothing. People thought that the music was just too difficult and loud. Recently, more people know how to comprehend my music. Many people have said they could get into a trance from the music. This is a better way of understanding Merzbow. Now, Grindcore and Techno people come to see Merzbow. It’s not a very large Noise scene in Japan but we have been getting more places allowing a performance than ever before. Fortunately, many other people in the genre know about each other and perform together. I have also been playing a few Techno events. Right now, the Merzbow live unit is myself, Reiko, and Bara. Reiko is not into music nor is she a Noise player. Bara is performing Noise as his art action. They play a very physical kind of music meaning that they always struggle with sound. It’s like the idea of playing with street noise, construction noise, ambient noise, and machine noise. That separation creates a very static feeling and that is my intention– I don’t like to play with musicians in Merzbow. They bother me. Last year, the three of us finished an American tour. We played in Seattle, Portland, San Francisco, Los Angeles, New York, Boston and Cleveland. American audiences are nice and clever. The audiences were very crowded. I met some interesting people like Elden of Allegory Chapel, Ltd., Dwid from Integrity, the band Smegma, and all the people who helped organize these shows. The audiences contained many great fans

What other bands involved with Noise have you collaborated with?

Masonna, Hijokaidan, Aube, and Monde Bruits. Maso of Masonna came to see my first live performance in Kyoto. I met Mikawa, who played in both Hijokaidan and the Incapacitants, at a record shop and we went to have a few drinks. Alchemy Records started a CD series dedicated to pure Noise called Good Alchemy and I played as a guest drummer with Hijokaidan. Iwasaki of Monde Bruits organized my first Merzbow show in Osaka. Then we played together at some point.

Tell me a little about your books Scum Culture and Bizarre Sex Moderne.

Scum Culture is a compilation of articles including such topics as bad taste art, Satanic Heavy Metal music, scatological performances of Vienna Aktionism, music of Art Brut, Adolf Wolfli, and work of Social Patient Kollective. After I published this book, the term “Scum Culture” became a little bit popular in the Japanese media. Bizarre Sex Moderne is a cult study and history of sex magazines of pre-World War II. This period was synchronized with world modernism culture. Large chapters are dedicated to the topic of Japan’s premiere sex magazine Grotesque. There’s also an article about some pioneers in Japanese sexual research such as Hokumel Umehara, Seiu Ito, and Tetsu Takahashi.

I understand that you currently write for Japanese pornography magazines.

I started writing articles about S/M and fetishism. I’ve been very fascinated by surrealistic erotic literature as well as psychoanalysis. People like George Bataile, Andre Breton, Sigmund Freud, and Kraft Ebbing. I’m also interested in Nudism culture and nude photography from the 1920s.

What are the differences between Japanese and American pornography?

The definite difference is that there is no genitals or intercourse in Japanese porno because of our censorship laws. Of course, we have ratings as does the US. Though there are no S/M or scatological magazines in convenience stores, our society has a tendency to make concessions for politeness in respect to sexual violations. Most of Japan’s sexual trauma is high school girls. High school girls are a very powerful sexual icon in our society. High school girls are also very powerful in regards to fashion and social behavior.

Mainstream Japanese culture also seems more accepting of bondage films and women having sex with an octopus. Why?

We have no deviant sex because we have no Christianity. That is, until the end of the Tokugawa era in the 1800s. We began to import Western scientific theory and our sexuality began to Westernize. We also imported Western sexuality without knowledge of Christianity. The reason for women having sex with an octopus is because of our censorship– her genitalia is covered. We have censorship of the genitals and no censorship of any sexual image without genitals. In the Japanese tradition, we have lots of strange sex images such as women with octopi. I think our present sexuality is influenced subliminally from the times before Tokugawa sexuality. It’s a kind of mental pleasure- a sense of humor in sexuality. Presently, Manga and Owarai entertainment is also the same reconstructed traditional culture. In this culture, sex is not a matter of politics or science as is AIDS., the Gay movement, and sexual harassment in Western culture. Japanese sexual culture is a world of the imagination.

What is the difference between Japanese and American Pop culture?

I think that American Pop Culture has more variety. Japanese society is a television community. The most important thing for most people is doing the same things most other people do. No individuality exists in this society with music, fashion, and language. The Japanese government thinks Japan is one nation of one race. But that is a lie. This same theory applies to the Japanese media.

Has American culture had any negative effects on your country?

Yes, AIDS and coffee. For me, American Pop Culture was a stigma when I was a child in the 1950s. America won the war so maybe “U.S.A” is a symbol of power and big dreams. Japanese culture has also had effects on America. A negative effect is the economy. A positive effect is food.

How has growing up in Japan effected your Noise creation?

Sometimes, I would like to kill the much too noisy Japanese by my own Noise. The effects of Japanese culture are too much noise everywhere. I want to make silence by my Noise. Maybe, that is a fascist way of using sound.

Article first published in EsoTerra #8, 1999.

(Source: www.esoterra.org/merzbow)

> AUTOGEN / KLUSIE VIESI – Post-Apo CD (Mandat Nr. 38) Review

AUTOGEN_KLUSIE-VIESIcover

Autogen’s new split release with Klusie Viesi takes on an aptly titled approach through its creative extraction of sound source that are implemented in a drastic and unique manner. In ‘Post-Apo’, Kaps (Autogen) experiments with the use of Soviet civil defence and coldwar military equipment discovered in World War II bunkers in Riga, Latvia. Partnering in crime on this album is Klusie Viesi or “Silent Visitors’, who works with Soviet synths, coal microphones and UVB receivers.

This is an interesting project that takes the listener on an abstract escapade of glitches and pulses. These unique snippets of sound elements grow on you as they slowly build up into an abstract industrial rhythm. Many of the tracks start off in a minimal and random manner, at times just falling quiet into an audio abyss only to come back on again. The short bursts of squeals and tweaks eventually build up into a progressive overlay of radio static, drilling swooshes and buzzes, which slowly engulf the listener into a symphony of abstract melody.

The theme of this album is reflected well through the emotional exploration of raw minimal and industrial elements at its most abstract execution. The bits and bytes of abstract sounds generated from cold war Soviet equipment are juxtaposed with one another that create an interesting collage work of audio symphony. They are pieced together just like a jigsaw that overlay and build upon its own rhythm. The sounds generated from the unique use of military equipment demonstrate the creative abstraction of an exciting audio exploration. ‘Post Apo’ brings about the eventual hope as the result of a journey through a fragile post-apocalyptic world.

More Info At: http://www.sturmmandat.com/artists/autogen

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