TELE.S.THERION w/AA.VVV. - "VERB. D.SVM C.S.T. ARCAN." [VERSION]

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◢◢◢ TELE.S.THERION "VERB. D.SVM C.S.T. ARCAN." [VERSION]
◢ In large ensemble with (in alphabetical order):
Dan Blacksberg: Trombone.
Stefano Corsi: Electric guitar.
Kristian Cucchiara: Electric guitar.
Nick Didkovsky: Electric guitar.
Mvett Guibourg: Electric guitar.
Reinhart Hammerschmidt: Double bass.
Franz Hautzinger: Trumpet.
Eli Litwin: Drums.
Renè Lussier: Daxophone / Acoustic guitar.
Roger Turner: Percussions.
Massimiliano Viel: Electric piano.
Norman Westberg: Electric guitar.

◢ Tele.s.therion:
Concept design, scores, conduction, enharmonic electric bass, dodecaphonic serie (played by S. Corsi and K. Cucchiara), silence.


OUT on: OCTOBER 31, 2023
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◢ Warning:
No human voices are involved in these recordings.
Secondary frequencies and non-harmonic resonances can evoke auditory hallucinations.

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◢◢◢ AUDIOPHILE QUALITY | MASTER STUDIO EDITION
◢ Composed on Mach 2020 - July 2023
◢ Produced by: Radical Matters - Editions / Label
◢ Edition: Digital Studio Master at 24 Bit 96 kHz
◢ Catalogue: RMDE020 | Sept. 2023
◢ Licensed by: CC by nc nd 3.0.

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◢ Compositional method.
This compositional method was forged assuming the Logic as a framework of references, as a model of the reality, to reformulate the conception of music and fond a new field of research into the black art of noise. Logic is iconoclastic; assuming its implications, the common rules adopted are broken. Logic it's a radical tool to investigate the thought and the cognition which underlying the dynamics of mind operations. The mental constructs will be reduced to pure operational combinations, revealing their role in the nature. To create aesthetic experiences using a radical methodology, means achieve the core of the discipline in itself, taking it back to its constituents, its epistemic structure. This is the set to transgress the elements that form the discipline, to the point of redesign its praxis to explore new imaginaries, to design new phenomenologies. In this compositional method, the sound matter it's selected choosing the performers that forms the ensemble. For this kind of non-hydiomatic and acousmatic improvisations, shapes and timbres of the sound bodies chosen are a unity with the personality and attitudes of the author involved, which perform their session using only a concrete score as common script, a piece made by a recording session of enharmonic electric bass, that becomes the tactus, the modus and the meter of the entire composition. To keep the rule of independence of each sound event, each author is called to record the own session separately to the others, developing the performance through a dialogic operation that require to listen the other unmanifested but possible sounds, not physically present yet but part of the dramaturgy, in a tragedy of listening where the audial experience it isn't connected to its own source cause, focusing only on the concrete score of enharmonic electric bass, without knowing what the other authors involved have did or will do. Each individual recording session, it's conceived and treated as a sort of whodunit, an event developed inside a conceptual locked-room mystery, transposing this approach into sound art praxis, where each detail it's a fondant clues of the acoustic scene, becoming a sound object per sé. Translating these settings into the theory of performative utterances, this is the ritualistic part of the session. In a paradigmatic analogy between the work of art and linguistic propositions, each session is therefore a tautology. Such as characters on a movie set, where to the actors it is required to improvise blindfold and alone, following just a concrete score as stage projection, to compose a polyphonic and synergic organicity that was previously designed by the conductor-director, as an inaudible conceptual dramatization, that will be manifested only during the reproduction process, when all the recording sessions are pointed to zero time and played, without any kind of arrangement, but sculpting each session through a modeling of the frequencies and the positions in the aural space. As a whole they form a composition, which occurs in the mind of the observer. The concrete score it's a performative action, where the conductor-player becomes the compositional system trigger, inducing moments of forming sound, operating from within the sound masses, like an agitator, an agent provocateur, a catalyst, necessary to let the moment-form happen, through the spontaneous self-process of coagulation and solving of the sound masses that each author determinate, following the script dynamics. The composition emerges through the simultaneous and unison playback of the recording sessions involved, in a psychoacoustic gestalt.

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◢ NOTE: YOUTUBE AUDIO STREAMING IS (VERY) LOSSY!