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Hard to explain the birth of a band like A SHORT APNEA, ahead in the conception and in the sound, if you don't browse the curriculum of the musicians, devoted to experimentation with other genres of music since the 80's. Always in search of a music in which barriers between progressive, post rock, free jazz, avantgard and other do not exist, A SHORT APNEA became soon a cult and a reference for who attends from years to find in a band ahead as well as deeply Italian.   
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This fuckin' girrrlz duo is as delicate as a truck-driver could be, that is noise a la AMPHETAMINE REPTILE / TOUCH & GO, made for your ears bleeding.   
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What can you expect from a guitar/drum duo (male/female) dressing like some masked wrestler? I guess the answer it's obvious: rock'n'roll. Garage rockarolla recorded in Detroit anything more you wonna add?
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Away from mainstream artistic path, the band keeps on his quest for an honest experimental musical language. ANATROFOBIA's music is a mix of improvisation, writing, acoustic and electronics, experimentation of non-idiomatic structures, unique timbral combinations: ANATROFOBIA plays with constantly variable themes, saturation and rarefaction, the plurality of levels, asymmetries and polyrhythms, tonal complexity, on a challenge that faces a continuous investigation of the band's own musical inventions and the refinement/discussion of the already reached aims.
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The two OLD TIME RELIJUN members Arrington De Dionyso and Aaron Hartman join Jacopo Andreini (BZ BZ UEU, L'ENFANCE ROUGE) and Fabio Magistrali (A SHORT APNEA) for a instrumental avant-jazz improvised project
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Insects were the earliest organisms to produce sounds and to sense them. BACHI DA PIETRA (italian: Stone-bugs or Stone-worms, instead of Silk-worms) are Giovanni Succi (ex MADRIGALI MAGRI) and Bruno Dorella (OVO, RONIN). They simply use arms woods and strings (two-piece drums and a guitar) to produce loops and patterns they call songs. The bug is the verse in a new age of stone. No silk. Rock'n'roll.   
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Conceived by Eraldo Bernocchi, Massimo Pupillo, Jacopo Battaglia and Luca Mai aka ZU, BLACK ENGINE is form/non-form. Shape deconstruction, harmonic and sonic plastic surgery. Too late emergency care unit. Malformed patient, but alive. Genetic manipulation of jazz, rock, dub, electronics and noise, itself for itself, thus, BLACK ENGINE. Self generating interference. Refuses the genre, even the simple genre word.. It doesn't need any reason to exist because of its engine essence.The meeting of 4 sonic navigators with a long experience. 4 minds who, project after project, interfaced their creativity with different sound worlds every time, just following the path of research and evolution.
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Bologna VIolenta is the one-man-band concealing the identity of Nicola Manzan, a 36 year old poly-instrumentalist with a diploma in violin, who in the past few years has worked both in studio and on stage with many bands in the Italian scene. The project was born in 2005, its music is devoted to sonic violence and musical nihilism: a blend of cyber-grind comprising nearly no melody at all and heavily leaning on breathless rhythms, punk-hardcore riffs and synthesizers.  
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Playing together since 1995, the four members of BRON Y AUR , attracted soon attention thanks to the quality of the first two demotapes (1997 and 1998) and obviously for two previous albums. Always considered a band who take roots in the seventies, they don't hide having spent their days in youth between ZEPPELIN and SABBATH, to be fascinated then by the german kraut rock and free jazz. This unusual mix generates an original and open-minded band able to exalt its own rock roots as to interact with musicians of different extractions.
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This quintet blends horn licks (saxophone and trumpet) with a postmodern funk guitar and an avant-punk rhythm section.
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Adriatic Coast heroes sing and dance for your happiness.
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After experiencing the straight-edge hardcore scene, he began exploring the many realms of noise. He played his 'destructive' djing within the group/label/collective SONIC BELLIGERANZA. CLAUDIO ROCCHETTI is now working on the composition of cinematic musical landscapes with the aid of old rare records, dusty analogue instruments as source material (old radios, customized turntables, grammophones...)
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Dälek are a two-piece hiphop-outfit from New Jersey. Will Brooks (a.k.a. MC Dälek) is responsible for lyrics, Alap Momin (a.k.a. The Oktopus) is the producer. Their open-mindedness towards musical influences was boundless from the beginning.
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DAMO SUZUKI's NETWORK an assembly of musicians, a collective meeting place where like minded people go.
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Dogon is a trio by Maurizio Martuscello, Økapi and Massimo Zu mixing elements of jazz, electronics, lounge, noise and transforms them in a indefinibile music.
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Marmo is the brand new effort from nihilism crusaders DUNE. Seven new tracks to bring you to the foggy hell of their edgy, nordic sound in the style of BREACH and NEUROSIS, including a twisted revisitation of PINK FLOYD's "Astronomy Domine"
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A music that soon leaves its first aesthetical dimension to begin to dig up, as a drop, as a bedded narration, a choir.
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Starting from radical improvisation, the band achieves to forge a sound which, today, is built on strong rock textures, guitar and drums based, on which a fluxus of outer sounds (old movies, old vinyls cut ups, noise streams and real time audio manipulations) ties and rages. In 2007 they release their self titled debut album, scarcely 30 minutes between noise and kraut rock, the themes being glorious (La Resistenza against fascism) and dark (’60 and ’70 state terrorism) moments of contemporary italian history. In 2009, with the second album “Comunicato n.2”, the music gets more brutal and heavy, while the band gives voice back to those who have tried to revolt against the inhuman capitalist world order. From 2007 to these days, FUZZ ORCHESTRA has been playing live restlessly in Italy and Europe.
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Germanotta Youth is the new band run by Massimo Pupillo (ZU’s bass), Reeks (electronics) and Andrea Basili (terror drums) based on a blasphemous mix of grindcore, field recordings, technorave and sludge.
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...Ligeti's accompaniment encompasses ruffs, bounces, strokes and drags. He can sound a backbeat as well as any rocker; introduce unique timbres from drum tops, claves and wood blocks that relate to the beats advanced from so-called primordial players; or alter stick-on-stick pulses and rim shots to resemble the inventions of musique concrète. And ranging from R&B-style thumb pops, claw-hammer frailing, rhythmic strums and jazzy fills, Pupillo's electric bass style provides whatever pulse is necessary for each tune. Somehow he's capable of producing arco-like wave forms, but as a rule he mostly confides himself to timekeeping, allowing the other two foreground freedom. Making the most of this, the saxophonist Gianni gebbia undulates straight lines, squeals with glottal punctuation, pushes almost-inaudible air through his bell, and negotiates unvarying tongue stops... (All About Jazz)
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Gianni Mimmo and Xabier Iriondo operating here a mutation of each other. They decide to take a trip to a cave church of the tenth century. (St. Lucia to Malve Matera) for two reasons: - the first is of a sound. The stone of those places is sound and react to stress very interesting timbres. -the second is true. They know that there is need for some sort of celebration of this attempt to create a meta-language between their stories. Their backgrounds are different, their distant registers, their attention very similar, with different variations and equally intense. A comparison is naked, but here they find their way to cliffs golems.
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Violent, rage-core, post-metal, screamy-emo, fast, rage, kicking-ass drums, singing in italian, with a voice next to an aneursym. Enough?
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Every now and then it's necessary to do a bit of the old head-banging. In order to do so most effectively, one requires some absolutely incomprehensible thrash metal to stimulate the action. I have to tell you, this is the perfect record for such cranial damage and any other kind of self-abuse one might like to indulge in.
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Speedy guitars, punkish female vocals and give-the-world-a-f*** attitude. Some SCRATCH ACID, the JESUS LIZARD and a good portion of riiioot girlls mood.
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JEALOUSY PARTY, active Florentine ensemble from 1995, rape the suggestions of the free music (jazz and not only), avant-rock , the disturbed and unsociable electronics, squirts of songs, saxs, laptop and cds in flames and histrionic vocal manipulations. The mutant project expresses with delirium and destructured transparency the synthesis among creative astractism, expressive urgency, mad avant-gardist, theatricality and punk attitude.
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François R. Cambuzat (vox & guitars), Chiara Locardi (bass & vox) and Jacopo Andreini (drums & horns). No musical directions: they confess at the moment a deep interest in KEIJI HAINO or WADIH EL SAFI, in modern contemporary classical music or in songs from the spanish civil war. A 360° view. The band is regulary touring all over Europe. Live, the songs are wild, making the press talk about them as a crossroad between melancholy and heavy rage, between the Velvet Underground and some weird sound-makers. Freedom is the word.
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This power-trio plays heavy grooves like a monolith surrounded by buzzing butterflies! Accelerates, then slows down, becomes geometric, obscure,obsessive, cold and occasionally melodic.
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Nothing is slow, deep and distressing like the music of MADRIGALI MAGRI and the voice of Mr. Succi.
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A cover of the JOHN CAGES's silence, 4 minutes and 33 seconds, 500 hand painted CD, one by one.
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Letargical psychedelia, cradle by gentle acoustic guitar riffs and a rarefied static electricity.
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The threesome with the distinguished taste was already well acquainted with experimental forms of bruitage before forming this entity. Daniel Buess (dr/electronics) is percussionist and founder member of ENSEMBLE PHOENIX, and has also been drumming in a the legendary noise pioneers 16-17. Papiro (g/bg) and Michael Zaugg (organ/synthesizer) forged their own bad reputation as some of the more radical drone musicians around.
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MISS MASSIVE SNOWFLAKE is led by Shane de Leon who has been extremely active in a multitude of media throughout the USA and Europe for the last 15 years. For 10 years he was a member of Portland, OR weird rockers, ROLLEBALL. He has recorded with Amsterdam based musician SOLEX, OVO, RONIN, as well as american bands, 31 KNOTS, SIX FOOT SLOTH, and the ART OF FLYING. He has exhibited his visual arts in Portland, OR, San Diego, CA, Milan, and Varese, Italy. He also runs NORTH POLE RECORDS and STARBAGE HANDS PRESS.
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Two skilled chicks from Brescia, northern Italy, playing with blips, samples, keyboards and other minimal electronic tools and frequencies, writing melodies of loneliness guided by their tuneful vocals, soothing and sexy, nearly orgasmic - slow rhythmics, something going trip-hop and withroots avant-jazz, emotional but not trascendental.
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Italian Noise/No Wave/Free Improv legends OVO are a two piece using guitar/violin cellos and drums that dump a toxic sludge with an unmistakable butterscotch scent. This sludge is in line with contemperous doom salesmen such as BORIS and the MELVINS, with the addition of vox stylings that take this record to a new place entirely. The sounds coming from Stefania Pedretti’s mouth as she sings go from lullaby sweet to terrifyingly raw in short intervals. Instrumentation on this platter is diverse, with guitars, bass, drums being added to the mix as well as music store stand-by’s like harmonica, piano, and cello.
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Music hasn't been as filigree, as harmonic and at the same time as varied and clearly composed as by PERMANENT FATAL ERROR.
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Featuring members of BRON Y AUR and the CUE LIE, PLASMA EXPANDER were formed in 2004 in Cagliari. No goal was planned but to play freely and spontaneously across drums and guitars instinctive sections, merely patterned either on a mood or a slight outline. Totally unwitting and disinterested about the outcoming material identity, the band found itself moving from kraut territories to untied blues splinters. Some might call it free rock'n'roll.
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POLVERE is acoustic and electric guitar, percussions and sound taken from daily life. The electro-acoustic sound is elaborated in real time and in post-production, in order to meet and mix opposite attitudes in music, searching for a personal musical way. In this second chapter, microphones are open to the concrete sounds of pastoral nature, clinking glasses, avant-garde movements of acoustic guitar plays, minimal percussions and electronica, blues lullabies, meta indian cants and suffocated grudges.
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Sicut fortes current, quasi viri bellatores ascendunt murum. They shall run like valiant men: like men of war they shall scale the wall. Old Testament, The Prophecy of Joel, 2, 7. QUASIVIRI are a trio that formed in 2006 in Milan, Italy, made up of Chet Martino on eight string bass, Roberto Rizzo (R.U.N.I.) on synth and André Arraiz-Rivas on drums.
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Depending who you ask and when you hear them, ROLLERBALL can be many things. Pop band, gothic wavers, experimental noise jerks, groove dub stoners, or fucking weirdos, but one thing holds dear, ROLLERBALL never rests. They work hard and strive harder. Not concerned with sales or acclaim, ROLLERBALL does what is to does, because that is what ROLLERBALL does. They practice, they tour, and they push the limits of sound on every release. You can't get bored with their sound because it is morphing as you read this. This is american music and this is a legendary band.
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Instrumental rock n' roll with 70s influences for one the best live band of latest years. A must!.
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These three kraut dancers have left a sign in the hearts of anyone have seen them on stage or listened their music or just had read their lyrics.
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Genuine and burning rock n roll based on drums, bass, guitar, guitar and a female voice.
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Konecne rokenrol, výskne si ten, co má už plný zuby všech tech prapodivných zvuku, pozpátku nahraných vokálu, zasmyckovaných akustických kytar a táhlých temp, když zaslechne slibný triumvirát: kytara&basa&bicí.
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Cult band of milan rock scene in the '90, those five guys has left broken hearts when they split in early 2000. The reissued last album is here to prove it and to give the world additional contents like live, singles and rarities.
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SQUARCICATRICI is a jazz splattered afro-punk musical ensemble from Italy fearlessly lead by Jacopo Andreini (L'ENFANCE ROUGE, OVO, BZ BZ UEU). SQUARCICATRICI utilizes extreme dynamics and presents whispered paintbrush sketches and then sculpts rich brass sound with the fury of a sledgehammer. Interpreting his twelve new compositions of aggressive intensity, Jacopo Andreini has assembled an international line-up which includes Enrico Antonello, Erwan Naour, Thollem McDonas, Samuele Venturin and a remix by bosnian dub heroes Vuneny. Accompanying the CD is an original essay by brazilian sociologue Chico Caminati titled "Preto são todas as cores, branco é ausência de cor!" written expecially for this album.
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A cute swinging of psychedelic moods and a shaking math/noise, with heavy bass guitar lines togheter with a beaten-hard drumming.
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TASADAY did not make worldwide headlines in 1982 when the not tiny group emerged from some humid villages in hills of Brianza, carrying metal, electric and electronic musical instruments, such as tubes, coils, amputed bass and chopper vox, and professing no knowledge. The people were talking about the sensation of Him who belongs to the dark and awakes at the day light, perceiving that nothing changes. In 1984, someone entered into the radio station where the TASADAY were playing their music, reading hermetic texts and playing their own parts, and wrote on the wall the sentence " TASADAY fucking poseur", claiming that the TASADAY story was a fraud. The wall writer claimed that the people had been persuaded to act as "the inexpressible thing" as an elaborate hoax. One journalist did not support those accusations and later, after a TASADAY live performance, on a major circulation magazine, he described the Tasaday as "the italian new SEX PISTOLS of the '80", saying that the TASADAY are authentic and the claim of a hoax was the real hoax. Nowadays the question is still unanswered.
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ERIC DOLPHY's spirit (although not fully recovered, must've been the old diabethes that killed him) finds a couple of electric organs, turns on his stereo, puts on a few LPs and plays along. Or Not.
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There's an acid 70ies aroma churning right from the cover to the music, this is THE HUTCHINSON.
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Can you imagine a 7" of BIG BLACK playing at 33rpm? Ok, now add some more diseased violence and you got it.
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Survivors In the ocean of pop, refugees in a timeless island, their luggage is a simple bag, full of wood, metal and circuit boards. Bertacchini's crippled rhythms cross and get crossed by some post krautesque assault a la Iriondo. The global listening could be resumed in: FAUST and CAN wrecking into a free/contemporary pool...
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These three hairy big guys play with 90s punk'n'roll music and related rules of dirty, somehow noisy, blues and voodoo.
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There is a guitar duo rocking scenes from 15 years: Xabier Iriondo and Paolo Cantù: UNCODE DUELLO is their last war machine.
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Say Yeah... Say Oh Oh......
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Is there someone who need a presentation of ZU?
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The Phonometak is a series of vinyl 10" split born by the collaboration between WALLACE RECORDS and the music store SOUND METAK. There’s no special choice for the kind of music in every issue, sometimes could be hardcore, sometimes could be folk, or jazz, or math or whatever… and its doesn’t matter if side A crashes into B in its music style, that’s the way we listen music, and it’s the way we publish it.
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PO BOX 52 is a series with debuts band I received demo but their works has not been published by WALLACE RECORDS, but I wanted in some way they can be listend.
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This series is done by small (80mm) CD packed in an envelope-style cardboard. They looks great ... the series is complete with 10 issues, most of them is experimental music, from avant folk to field recordings...
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![[1] Kilo of Black Bondage](img/bands/1kiloofblackbondage.jpg)
