DBPIT | “Alien RemiXes” - SR227

Type: mp3
Location: Rome, Italy
Date: 2020
Track: 9
Genre: industrial remixes
Section: Red
Free download






A collection of freshly remixed tracks out of compilations from the distant and not-so-distant past:
eight remixes of oldies & goldies by DBPIT, plus a re-release of his first ever dance track (Bekyrap, the odd-man-out) and a newly made one, out of bits & pieces from different songs – some of which have never made it to a release before (Flotsam & Jetsam).

Spettro Records 227
GattoAlieno GA 18
2020

Cover photo and artwork layout: Flavio Derbekannte

Special thanks to KimsonJa [intro and outro vocals on Flotsam & Jetsam], Arianna/XxeNa,
Spettro Recs, the Great Y-Circus and Electronomicon, IFAR, Deserted Factory, Stahlwerk Radio, Arte Nel Rumore netlabel, Lyke Wake, Giacomo DJ Elettrodo.

Credits:
released November 14, 2020
music by DBPIT
Cover photo and art: Flavio Derbekannte
labels: Spettro Records - Gatto Alieno



Our albums are under Creative Commons License



Asylum Connection | “Grey Worlds Fill Empty Words” - SR223

Type: mp3
Location: Bologna, Italy
Date: 2020
Track: 5
Genre: noise, dark ambient
Section: red
Free download


"Everything you will hear is a part of me I have carefully hidden or crushed for many years. It kept coming back to me and I would rather hurt myself struggling against it than accept it. This project was born when I stopped that vicious circle. That day, not without shame, I tore apart the taboo I had for noise and for my own most violent and uncompromising instincts. This sound was always inside of me. I mainly used contact microphones, objects and guitar pedals, but I try not to set any limit. I am grateful for my wife’s patience/trust/encouragement, Nicola and Omar, Teresa, Federico & Adonai, Irene, RecycledFab and Mai12 for their inspiration."

Asylum Connection is:

"A long time to fight the self-destructive spirit. And then one day I put myself aside and I left him free, free to express himself, to move objects, to bring sounds where he wanted. Not me against myself, but me together with the most intolerant part of my spirit. Together we create these sounds and visions."

Credits:
all music by Asylum Connection

Artwork by:
Akis Karanos



Our albums are under Creative Commons License



DBPIT | “isolaCtion” SR211

Type: mp3
Location: Rome, Italy (together with GattoAlieno GA17)
Date: 2020
Track: 7
Genre: electro, industrial
Section: red
Free download




Flavio Derbekannte has been making experimental / industrial music over the past 20 years or so under different monikers (first DBPIT, then DBPIT & XXENA and NOISE CLUSTER with his spouse Arianna); The isolation brought about by the Covid pandemic allowed him to sort out and complete a bunch of tracks he had had in the pipeline since forever:
here comes 'IsolaCtion', a collection of seven electronic tracks with an industrial 'hue' to dance the quarantine away.

Credits:
all synth and trumpet by DBPIT
artwork: Arianna Degni Lombardo


Our albums are under Creative Commons License



Kokkala | “Antifantasioviosi” - SR117

Type: Tape + Digital copy on Bandcamp
Location: Greece
Date: 2015
Track: 9
Genre: noise, ambient, experimental: "a travesty of audio pop culture aesthetics"
Section: red
Price: 4 euros & free download

Free download

Tape + Shipping




Antifantasioviosi (a merge of the words fantasy and antibiotics)
is a rock opera of insufficiency, a Modus ponens of anarchic composition, true punk attitude and insignificant intentions.
audio.

Playing with the banality of a pop rock "hit" and the idea of creating art in order to be absorbed, praised, welcome, bought,
'Liked' in general,
deforming it's structure, replacing guitar solos with commercial cultural elements,
vocals with wind burns, heart warming catchy lyrics with field recordings of situations, melody with absurdness,
using arythmic drum sequences, keyboards played with feet while breaking eggs, recording sessions
disrupted by friends calling via mobile phones and poetic titles, the "against" now "becomes".

A travesty of audio pop culture aesthetics -a travesty as an entity, a beautiful unruly rich alive, playful entity who doesn't
conform.

Tumblr
All recordings took place July and August 2014 in Thessaloniki and mountain Olympus Greece.
Akis Karanos ( Tumblr )
Voula Frasiola
guests: George Zahos
Anestits Tetsuo



Our albums are under Creative Commons License



SLP | "Emperor Tomato Ketchup" - SR110 ( E008 on Toxic Industries )

Type: cd-r ( limited edition of 40 copies, all hand made, and different )
Location: Italy
Date: 28/05/2014
Duration: 01:28:40
Track: 1
Genre: experimental, ambient, noise, soundtrack
Section: Red


Free download




CD ( 5 euros ) + Shipping




CD-r comes in textured heavy cardboard package with glued frame from the movie (each one is different) and stickers. Each copy is hand made by FUKTE.
Co-released with Toxic Industries.
Emperor Tomato Ketchup is a 1971 Japanese experimental film by poet, artist and director Terayama Shuji (1935 – 1983).
A revolutionary brigade of children overthrow the adults and their reign, and a young boy is made Emperor of a new world order. Any hope of change is soon shattered. The children repeat all the mistakes their fathers made, and violence, rape and abuse are inevitable. Enslaved, mothers are turned into prostitutes, “I seduce my mommy and I become my daddy”, is the scarred intent of the new youthful despot. The perpetual cycle of oppression is left unchanged.
Originally, its soundtrack was composed by J. A. Seazer, but the music you are about to listen to is a free interpretation by Italian noise musician SLP. It was first and only performed in Cagliari, Italy, on 16th February 2013, at "Solo Il Mio Nero" noise and film festival.

Our albums are under Creative Commons License.








Umanzuki | “Sonic Birds” SR074

Type: mp3
Location: Italy
Date: 2012
Track: 6
Genre: psychedelia
Section: red

Free download

Sonic Birds e? il secondo EP della band , (registrato da G. Caputo al fromscratch studio) e fa segnare una piccola rivoluzione nel sound. Messi un po? da parte gli stilemi jazz core, in sonic birds Umanzuki esplorano territori psichedelici e rarefatti. Si approcciano alla forma canzone, la destrutturano e ne tirano fuori melodie trasognanti che navigano su tappeti ritmici free form.

Second EP by the band, it marks a small revolution in style. Less jazz-corish, more psychedelic ecstatic landscapes. They approach the song format, de-structure it and grow dreamy melodies, sailing on free form rhythmic oceans.

Sonic birds e' uscito in free download e cdr per una cordata di etichette :
Brigadisco
fromscratch
eclectic polpo
ambient noise session
have you said midi
toten schwan Records
charity press
ZAMZAMREC -UK-

Our albums are under Creative Commons License






Kenji Siratori | “Digital Animal Structure” SR043

Type: mp3
Location: Japan
Date: 2011
Duration: 00:35:00
Track: 3
Genre: harsh digital noise
Section: red

Free download

A creature awaiting for us.
Artwork by Giancarlo Morieri.

Our albums are under Creative Commons License






Sinapsi | “Come Realtà” SR039

Type: mp3
Location: Italy
Date: 2011
Duration: 00:46:00
Track: 7
Genre: post-rock
Section: Red

Free download

Classic and lyrical post-rock, as it was meant to be, honest, and tragic altogether.
You can also buy a "physical" copy by emailing them directly at gibson1982@libero.it .

Our albums are under Creative Commons License





QWE | “MAUNDER: ACOUSTICS” SR028

Type: mp3
Location: U.S.A
Date: 2011
Duration: 00:42:19
Track: 11
Genre: acoustic improvisation
Section: Red

Free download

A collection of tracks made using acoustic stringed instruments (guitars, ukulele, psaltery, homemade instruments...).

Tracks recorded between 2006 and 2011.
There will eventually be a physical CDr version of this album. Each CD will have unique packaging and contain an extra track at the end unique to that specific copy (tracks vary mostly between 1 and 3 minutes in length) - you cannot buy this through Bandcamp, but if you would like a copy you can email ( theqwe@gmail.com ) to obtain one.

Dedicated to Jaymes Darvid Gebhaste.

Credits:
Released 14 January 2011
All tracks by QWE - 4, 5, 6, 12-string guitars, ukuleles and similar instruments.
some source material on "Broken" taken from a Sleepytime Gorilla Museum live performance, April 16th, 2009 in Chicago, IL

Most of these were recorded and uploaded as 32bit 48khz, but some were recorded at 16bit 44.1khz. "Guitar Rain" is somewhat of a trans-code from mp3 as the original file is gone.

Our albums are under Creative Commons License






Il Culto dell'Annientamento | “Mentre il Mondo Cadeva a Pezzi a Nessuno Importava Granché” SR013

Type: mp3
Location: Italy
Date: 2010
Duration: 00:24:05
Track: 2
Genre: industrial, experimental, noise
Section: Red

Free download

20's as a WWII prelude, European fascism rise, spreading antisemitism, Weimar's republic, the rationalism. No one cared, they danced to Charleston. Inspired by The Age of Extremes: The Short Twentieth Century, 1914-1991 and by Adorno's Dialectic of Enlightenment as well as by Gelso Nero's visual works.
Samples are slowly submerged by electronics, the fin de siecle dance shows its deep monstruosity.
Play LOUD

Gli anni 20 come preludio alla seconda guerra mondiale, l'ascesa dei fascismi europei, l'antisemitismo dilagante, la repubblica di Weimar, il razionalismo. Di tutto questo a pochi importava, si ballava il charleston. Ispirato ad una rilettura de Il Secolo Breve e della Dialettica dell'illuminismo oltre che dai lavori visivi di Gelso Nero.
I campionamenti vengono lentamente sommersi dalle partiture elettroniche, il ballabile fin de siecle tradisce la sua intima mostruosità.
Da ascoltare ad alto volume.

Our albums are under Creative Commons License









Derek Dick Decio | “Cubo di Bamba” SR002

Type: CDr
Location: Italy
Date: 2010
Duration: 00:51:02
Track: 12
Genre: hip-pop
Section: Red
Price: 4 euro

CD + Shipping ( Spedizioni )


Guy Debord appears in the introduction of the disc with a few commentaries for a movie. The interpretation of Derek's cd is the uncapability of self-achievement, collective and universal.
The language of the disc; crude, horrific, violent, at times stupid but never banal casts us in the world of D.D.D. consisting in suffering, joy, illusions, dreams. A world which speaks about the transience of being, of life itself of drugs as the only way out of a standardized society.
The only way out of this pile of shit.
Derek Dick Decio is an integral part of his disc.
Accompanied by Mister Drey's patterns (Laptop/Drum machine), in featuring with Nicola Boari (Salomè Lp and SLP) Derek distorts the traditional rules of Italian hip hop, which has by now become just commercial music for teen guzzlers. By emptying out its "gangsta" content Derek intends not to stay above its beat (bit) but downright to enter in it.
Metrics which are almost spoken assume a "ferrettiano" tone, giving ample space to the contents, catapulting the listener in a claustrophobic and oppressive atmosphere
made of dirty, artificial, repetitive sounds up to the most classic hip hop.
Voice and metrics inspired by one of the forerunners of the old Italian school "Kaos One", In his style, cut and mostly in the content of rap, Derek moves away from Kaos.
The project begins in 2009; the interpreters, that is, Mister Drey (ex Salomè Lego Playset) and Derek have very similar musical views even if they are users of rather different genres.

All the bases are Mr. Drey's except for "Ratto: il giorno della vergogna" and "Minestra Freddata" which are played by Susanna Laterza; the arrangements of "L' ora del candore" are by Susanna Laterza; SLP wrote the lyrics to "La Caduta degli Dei" and "Bright Future"; and plays the guitars in "La Caduta degli Dei" besides singing in "Sacro Graal" and "Il Giorno dell' Infausto" and Tona sings the refrain to "Il Giorno del Candore".
Mr. Drey thanks, in chronological order: SLP for welcoming me back, Alberto for making me want to play again, Derek Dick Decio for immediately having faith in my comeback and Sacco for teaching me the little I acknowledged.
D.D.D. thanks: P.J Edo for the patience and collaboration, Slp fot the wellingtonian support, Alberto for the virtual hailstorms, Giulia for undergoing all the pre-listenings of the pieces, and everyone who despises me and believes in being able to beat me on a fucking printed piece of paper.


Ci sono persone in grado di vedere la filigrana nelle cose, una realtà che non c'è o non c'è ancora.
Nel mondo realmente rovesciato, il vero è un momento del falso.
Si potrebbe sintetizzare cosi il primo disco, interamente auto-prodotto e finanziato di "D.D.D." citando non a caso una frase di Guy Debord ne "La società dello spettacolo".
Guy Debord, che appare nell'intro del disco stesso con alcune frasi di commento per un film. Ed è proprio l'impossibilità alla realizzazione personale, collettiva, universale, la chiave di lettura del cd di Derek. Un senso di nichilismo, impotenza, rabbia, amore; un senso di morte ;ma al tempo stesso un inno alla vita vissuta "realmente", partendo dal presupposto che non esiste distinzione tra il vero ed il falso.
Il linguaggio utilizzato nel disco; crudo, orrorifico, violento, talvolta stupido ma mai banale ci proietta nel mondo di D.D.D. fatto di sofferenza, gioia, illusioni, sogni. Un mondo che parla della transitorietà dell'essere, della vita stessa. Un mondo che utilizza la droga come unica via d'uscita alla società massificata.
Come unica via d'uscita in questa montagna di merda.
Derek Dick Decio è parte integrante del suo disco.
Accompagnato dalle basi di Simone Paganelli (Laptop/ Drum machine), in feauturing con Nicola Boari (Salomè Lp) Derek stravolge i canoni tradizionali dell'hip hop italiano, oramai divenuto solamente merce di consumo per ragazzini che giocano a fare i papponi. Svuotandone il contenuto "gangsta" Derek si propone non di stare sopra il tempo (bit) ma addirittura di entrarci dentro.
Metriche quasi parlate assumono un tono "ferrettiano", dando ampio spazio ai contenuti, catapultando l'ascoltatore in un'atmosfera claustrofobica, oppressiva , fatta di suoni sporchi, artificiali, ripetitivi, sino ad arrivare al piu classico dell'hip hop.
Voce e metrica ispirata ad uno dei precursori dell'old school italiana "Kaos One", Derek si distacca da Kaos per lo stile, il taglio e soprattutto il contenuto nel fare rap.
Il progetto inizia nel 2009; gli interpreti ossia Simone Paganelli (ex Salomè Lego Playset) e Derek hanno vedute musicali molto simili pur essendo fruitori di generi abbastanza diversi.
Simone grande ascoltatore di avanguardia contemporanea anni 60/70 , da Schoenberg, Webern, passando attraverso Feldman, Riley e Steve Reich fonda nelle sue basi una grande sapienza compositiva; mixando e campionando un po tutto quello che ha a che fare con la musica da lui ascoltata.
La chiave di volta del progetto però, piu' che la musica stessa, intesa come mera rappresentazione di una tecnica, è una grande voglia di cambiamento; nella musica, nell'arte, nella vita che quotidianamente andiamo ad affrontare. Piu'realisticamente è una presa di coscienza della pochezza spirituale, individuale, affettiva delle persone che formano la società odierna.
Derek è un grido, un'illusione mascherata dal volto anonimo, un calcio nel culo alle istituzioni, una provocazione piu' verso se stesso che verso gli altri, uno sputtanamento ai clichè che vengono imposti dall'alto, una mistificazione della fede, un lancinante urlo di sofferenza verso quella vita che forse non lo ha mai relmente rispettato e che non ha voluto mai farsi perdonare.
Attualmente D.d.d si è allontanato dalla scena musicale e si propone di fare concerti non appena troverà una casa discografica che lo pubblichi, gli faccia fare soldi, lo faccia chiavare in giro per il mondo e soprattutto lo tolga dal lavoro di commesso che lui diligentemente svolge presso "Centro comm.le degli orrori quartiere Navile" mandando a cagare ogni giorno clienti e personale, tornando ogni giorno a casa sempre piu stressato e con manie omicide.

Tutte le basi sono di Mr.Drey, tranne "il giorno della vergogna" e "Minestra Freddata" suonate da Susanna Laterza; gli arrangiamenti de "L'ora del candore" sono di Susanna Laterza; Nicola Boari suona le chitarre in "La caduta degli dei".
Nicola canta in "Sacro Graal" e "Il giorno dell'infausto", la Tona nel ritornello di "Il giorno del candore".
Mr. Drey ringrazia, in ordine cronologico: Nicola per avermi riaccolto, Alberto per avermi fatto tornare la voglia di suonare, Derek Dick Decio per averci creduto immediatamente e Sacco per avermi insegnato quel poco che ho recepito.
D.d.d. ringrazia: P.J Edo per la pazienza e la collaborazione, Nicola per il supporto quoioso, Alberto per le grandinate vitruviali, Giulia per essersi sorbita tutte le anteprime dei pezzi, tutti quelli che
mi disprezzano e che credono di potermi battere su un foglio stampato del cazzo.

Our albums are under Creative Commons License