We’re very pleased today to present an in-depth article about the Vienna-based label Noiztank, founded in 2014 by Zosima, R.C. and M.H. [here is the official website]. Focused on experimental / Industrial takes on electronic music, the label is about to release its sixth work: called le 17 janvier Los Angeles, USA, NTK006 is a 4-tracks split EP by the dangerous duo Kareem [Patrick Stottrop, the founder of Zhark Recordings Berlin we had the pleasure to host on our pages last February] and Huren [aka David Foster, half of the legendary Teste duo, now his own solo creature, and also known as Obscene Mannequin, Opgang 2 and many others]. We have been following a lot the label in the recent past, finding very fresh, interesting and heavy the music published on it. Further on, as it will be clearly pointed out later in the article, Noiztank features also a strong compenetration between music and art: for example, the artworks of the releases are done by Zosima himself, and a lot of tracks came out with a videoclip that added also a visual component to the productions. This is among the aspects that caught our interest the most, and should definitely catch yours too.
In this feature, after a very brief introduction to the label, to Zosima’s productions, and to the other records previously released on it, we present le 17 janvier Los Angeles, USA [NTK006], whose title had been inspired by the infamous Des Morts shock-umentary (1979) and on which the artists appear with their new aliases, respectively Ligeia and MRTVI (Serbo-Croatian for ‘dead‘). Also, will be presented the exclusive streaming of the videoclip for the track Rituel Sonore by Huren / MRTVI, done by Emad Dabiri. Following, an in-depth interview to Zosima and, finally, a devastating mix recorded exclusivelly for us (see the end of the article for the tracklist). Here below you can find the stream of Guest Mix #3: “Towards Unstable Moments” by Zosima straight out of our Mixcloud Channel [the artwork is a drawing by Neil Spiller: we do not own anything]. Enjoy!
Vienna based electronic music label, Noiztank is the platform for uncompromising artists who dictate their own rules and move away from the (pre)established standards. Music is understood as one of the highest ways of expression and communication. A tool for changes. Techno is the channel that operates as an autonomous discipline within the electronic music and, in such a way it is able to evolve under their own principles. Techno is an entity of complexity ruled by self-(dis)organized processes. Grotesque, provocative, indefinable, violent: Music capable of accommodating the unpredictable. [www.noiztank.com]
An enigmatic tag-line ends the presentation of the label Noiztank, the object of this article: “founded in 2014 by Zosima, R.C. and M.H.“. Despite the fact we cannot provide any informations about R.C. and M.H., we can surely introduce Zosima, who has been starring in our recent techno-oriented listenings. Zosima is from Madrid, and he is the de-facto founder of the label and also the first one publishing on it [NTK001, Tears of Black Powder EP]. NTK002 and NTK005 are by Zosima too, respectively titled A Lady From Siberia EP and Metamorphosis EP (the first one featuring a remix track by Kareem, and the second one two OAKE’s).
NTK001, aka Tears Of Black Powder EP, is a martial, booming set of tensed tracks in which also noise acts as a primary composition tool. In the course of the EP, the listener experiences a weird mixture of remote jazz-y Detroit techno influences, unusual dynamics without any clear soft-loud passage, explosions of low-pitched whistles and puzzling chimes. The music is somehow recalling a movie-like narration, in which sudden screams summon the agony of a huge animal, tortured and screaming for help and crying tears of black powder. A Lady From Siberia EP, the following release on Noiztank, keeps calling back unsual drums and kick patterns and plays rattling sounds, dubbed vocal samples and ritualistic crescendos.
Zosima is the final product of a musical immersion that has been moving around the electronics since the late 90s. A non-always-logical evolution has produced a riotous musical personality. The most underground faces of techno define the preliminary basics of his distorted message. Always moving around the fringe of speculation. Constantly looking for new ways of developing techno aesthetics. He is the founder of Noiztank. [www.noiztank.com]
Before NTK001, in 2013 the producer appeared on a 4-tracks compilation called Fertile Soil EP released by the Dutch Dynamic Reflection, The White Canvas standing as his debut track with the Z. alias. Between NTK001 and NTK002 also two other EPs saw the light, respectively Zer Twenty-Eight [Serial Number 849, 2014] and Unconventional Behaviour [on the French label Vizion Division, 2014]. Both the records can be entirely streamed on YouTube [just type in the name in the search-bar+]. The records feature a minimal approach to techno, resulting in a couple of orotund and rousing parades. However, it’s on his own label that the producer manages to express himself freely, and to properly address his inspiration and the will to explore sounds.
Siberia [NTK001, A Lady From Siberia, coming with a glitchy atmospheric remix version by Kareem] is a perfect example of this will, the same that will lead Zosima to craft the record that we consider his most focused and brilliant so far: Metamorphosis [NTK005], out last January and including two OAKE’s reworks. The record hosts the narration of a complete transformation of a mind / body. Introducing warm and vibrant components to the tracks, the compositions result in an almost sensual, passionate report about the experience of evolution and mutation. However, we don’t want to reveal much about Zosima or this particular record yet, so, if you’re interested in further informations and curiosities, keep reading the article until you reach the interview!
We already mentioned NTK001, NTK002 and NTK005 by Zosima. Before presenting NTK006, few words are worth spending about NTK003 and NTK004 too.
Ancient Communications EP by Damaskin came out late August 2015 as the third release on Noiztank. The producer from Belgium is active with many aliases other than Damaskin, such as Seraphim Rytm, releasing on Silent Season, and Nino, appearing on Batti Batti [to have a quick look at his discography check the bandcamp portal]. Since the official debut in 2014 on the Italian label Concrete Records, followed by the interesting 12” on the French label Unknown Precept called Unseen Warfare, Damaskin has been experimenting with abrasive, relentless tracks spacing within many genre, styles and moods. The 4-pieces EP NTK003 is no exception, moving from the elusive start on Propaganda, to the rusty kicks in Ancient Communication and the massive acid drops falling on Entrance, towards the final noisy and unsafe territories reached in Catacomb.
NTK004 is Pietà by the Serbian duo Ontal [Boris Noiz and Darko Kolar], here getting at one of its very finest moments. The eponymous opening track, a massive and outstanding set of metallic oscillations that heavily stick and resonate into the mind of the listener, is the quintessential representation of Ontal aesthetics. Pietà (the 12”) is a total blast of explosive and raw Industrial Techno which is also worth possessing, considered the touching artwork and fine package. [Much more will be revealed by Zosima about NTK004 artwork few lines ahead].
Finally, we draw your attention to the close relationship between Noiztank catalogue and visual / video art. Here is a list for all the clips available online for NTK tracks [to see the YouTube channel of the label, follow this link]. Please take some time to watch them!
- Zosima – Siberia (Kareem Remix) by the29nov films
- Damaskin – Catacomb by the29nov films
- Ontal – Seven Sorrows by the29nov films
- Ontal – Pietà by the29nov films
- Zosima – Larvae by the29nov films
- Zosima – Embryo (OAKE Excludere Remix) by the29nov films
- Zosima – Embryo by the29nov films
- Kareem presents Ligeia – Meyrink by the29nov films
Now it’s time to present the latest Noiztank 12” [NTK 006], about to be released within few days. Keep your eyes on the Noiztank FB page also for further news about NTK 007 by Zanias, coming soon!
In 2000 Zhark Recordings Berlin released 1995-2000 cd01 by Kareem and Huren. As Patrick Stottrop himself stated in our PORTRAIT#1 interview last February, “the compilation was a good cut in order to summarize and to prepare for the next level that was already on the way with the 10th Zhark release. It was also a fun thing to release a CD with the millennium connotation and make it this way a bit epic, and to highlight the drama… cause in the end we are all a bit dramatic“.
Now, about 16 years later, Noiztank presents the first split 12″ by the two artists: le 17 janvier Los Angeles, USA [NTK006].
- Kareem presents Ligeia – The Borromeos Arrival
- Kareem presents Ligeia – Meyrink
- Huren presents MRTVI – Rituel Sonore
- Huren presents MRTVI – Partial Deletion
NTK006 is a four track EP in which the first side is reserved for Kareem and the second for Huren. Both the techno / electronic scene heroes appear on the record with other aliases: Ligeia for the founder of Zhark Berlin, and MRTVI for the Canadian artist now living in Berlin too. Actually, the tag MRTVI already appeared as the title of Zhark0025 [-MRTVI-, 2015], and NTK006 David Foster’s side picks up indeed the themes and his peculiar bastard approach to electronic music. MRTVI – as much as Huren, Dave Foster, Obscene Mannequin, Opgang 2, … had always been doing – mixes up electronic body music, purely-abrasive noise and a riot / combactive attitude, each time contextualized into a different release or style. In this particular NTK006 occasion, Huren’s tracks Rituel Sonore and Partial Deletion represent the expression of the artist’s darkest and wildest side, bridled in macabre and vicious rituals. Ligeia is an actual debut instead: the majestic calm of the ambient opening track called The Borromeos Arrival and the hopping cavalcade Meyrink are among the finest episodes in the never-tiring and ever-evolving Kareem’s musical production.
We reached out for Kareem and Huren and asked them some informations about the record to present it in the most accurate way as possible.
[the Des Morts shock-umentary by Jean-Pol Ferbus, Dominique Garny and Thierry Zéno released in 1979, an even crueler expansion of Italian Mondo movies exploitation genre]
First, we asked Huren what was the inspiration for the name of the alias, MRTVI: “I just liked the way it looked, to be honest. Of course I knew it is a Balkan word for Dead. I’m generally brought to use the Serbo-Croatian language for its rather harsh spellings. I like to bastardize English as much as I can and to use other languages in my own interpretation. I kinda go by the Burroughs doctrine Language Is A Virus“.
The second information is about the artwork and the title for NTK006, which are derived from a particular moment out of the movie Des Morts, 1979. Without going into details (no spoilers: have fun watching the movie!), it represents also an important fragment of Huren’s childhood, magistrally finalized by Zosima on the physical release / artwork. Reporting Huren’s words: “the title comes from this film which had a very profound affect on me as a child, as in those days one would go to the back of the video rental shop to find the depraved weird shit. This one happened to be something that really disturbed me as it’s stayed with me for 30 years since“.
Going on quoting: “in my city of Hamilton [Ontario, Canada] there was nothing to do for the more arty, misfit kids, but we all kind of found each other. For me it was a key moment knowing a guy who was in the Temple of Psychick Youth and used to have acid parties and screen all these multi-generation VHS movies and videos. That was around ’88-89, when I first saw the SPK Despair video and all the TOPY videos like Ritual Cuttings. They made a lasting impression.“. These statements provide a quite interesting insight to Huren’s background and character, always on the edge of crossing / negating any predefined boundaries and preconstructed musical-genre patterns. “Those films were a gateway for the adolescent pre-internet me to learn about Industrial and extreme music/art/movies – “Snuff the Movie”, “Shocking Asia” , “Faces of Death” being the most famous. Always in the back-rooms of the video rental shop… a time which will never return! This release to me is a bit of a chronicle of loss of that moment, it’s about how each circumstance is a one-time finality!“
[Huren and Kareem, via]
Coming to Kareem’s side, Ligeia is a complete debut on record. As stated by the founder of Zhark Berlin: “About Ligeia, I don’t know where it is gonna lead me, but I think it stands maybe as a fresh start for something that is not so much formatted“. As to say, the new alias Ligeia is a tagline for previously unheard material and unforeseeable paths. The track The Borromeos Arrival can be heard as the very opening track in Guest Mix #3 Zosima recorded for us (see the stream at the beginning of the article and the tracklist at the end). Kareem reserved few words for it: “the track reflects something fragile and beautiful which is always threatened by the course of time. Maybe something that resists change, imminent destruction and decay. You know the Borromean Islands? It is quit a sight to approach the Island Isola Bella from the south of the Lago Maggiore. I visited the island often and the view had been always unchanged“.
The melancholy feeling associated to the sight and the reaching of an pristine, immaculate place had been wonderfully transposed into music inside the Borromeos Arrival piece, which is a disturbed, atmospheric expansion / contraction through space and time. Ligieia, as explained by Kareem himself, represent something that has not been formatted yet, and this is testified by the sudden passage to the second track, apparently discordant with the mood of the previous one. A closer listen and look to Meyrink bring up the continuity between them instead: where the former is contemplation, the latter is the action caused / inspired by it. Everything is kept together by a very natural and basic action, which is remembrance. Reporting Kareem’s thoughts: “besides the terrifying hopelessness of the images themselves [i.e. the Des Morts sequence appearing on the artwork], there is something else that got to me: it is the whole color composition of the still, that you find only in 16mm encoded to NTSC/PAL film material from that time. It appears all blurred and colour-filtered. I think I perceived a lot of TV as a child in that way, so it gave me a warm and nostalgic feeling. I am really happy how Zosima transformed this so it could work good for the artwork.”
Finally, before going to the conclusive section of the article, i.e. our interview to Zosima, we’d like to end our presentation through the pregnant passages appearing in the press release, written by Zosima himself: “Music is about discourse. It’s about ideas, about the intellectual project. Anyone can build a “beat”, but not everybody can produce an interesting argument for it. This implies the idea of Romanticism as a notion of tradition and respect for certain rules. Romanticism understood as virtuosity in the manipulation of art production tools […]. Certain pedigree of virtuosity is definitely needed…but in many regards it also remains an extremely conventional formalism, which is at the core of every artist. It doesn’t matter if you have to piss around in the subterranean electronic music trenches for over two decades. A true pioneer simply has to live with that sort of dichotomy. Here there are two good examples“, Huren and Kareem. Listen, buy and recommend the record!
[Final note: David Foster will be our Guest later on this year on our PORTRAIT Series, out on monthly basis. Stay tuned!]
Let’s move to the final part of the article, which is an in-depth interview to Zosima. The artist kindly responded our questions articulating each one of the answers, and managing to raise high-interest in reading them. At the end of it, you can find again the stream for Guest Mix #3: “Towards Unstable Moments”, and the tracklist too.
Q: Hi! Thank you very much for having accepted our invitation and recorded a mixtape for us. What is interesting about it is the vast amount of moods and feelings the music spans within the hour. How would you describe it in few simple words, what did you want to express through it? How many forthcoming Noiztank tracks are featured?
A: The mixtape basically gathers a few examples that influence/guide Noiztank together with some of our own label stuff. The tracklist moves around a range that wants to avoid as much as possible monotony and banality. Therefore you can find up and downs, changing of rhythm, structures, tempo, etc. I think is extremely boring when you are in a techno club and the guy in the booth keeps for 2 or 3 hours the same tune. It tells nothing. It communicates nothing. Sooner or later the audience loses the interest. You have to keep a constant tension and give the chance to expect the unpredictable. This statement is applied at every level: from the Noiztank’s music catalogue till every time I am performing live or djing. Three brand new tracks of NTK006 by Kareem & Huren are included, as well as one of NTK007 by Zanias, which will be also out soon.
Q: Before talking about Noiztank’s activity, releases and aesthetics, as well as Zosima’s, we’d like to discuss a few words about your background. Are you from Vienna, is that right? What’s the situation like in the city, talking about the electronic music scene? Is it good or bad for keeping alive the activity of a label such as yours? Do you feel at home there?
A: The Zosima project itself could be consider Austrian, because it started in Vienna, but I am originally from Madrid. What Vienna gives you with one hand, takes it away with the other. I moved here in 2010 and at that time I was really impressed about the scene in the city. Every corner breaths electronic music and that somehow makes you react. Almost unconsciously it pushes you to start your own things in a very natural way. I started producing few months later and playing in some local clubs. I met people, who understand music in the way I do, so all these create a breeding ground, where the label was grounded 1,5 years ago. If I wouldn’t have moved to Vienna, neither Noiztank nor Zosima would exist. On the other hand, the city is extremely conservative if someone wants to produce any kind of innovative discourse. There are very few places or people interested in what doesn’t produce instant benefits. Vienna is still far away to be the right place to establish an experimental or abstract music culture able to reach the big public. It is a funny contradiction.
Q: Referring to Noiztank’s official website: could you name us a few project you were involved with since the late 90’s before activating the Zosima alias and opening the label? On the website is also reported the tagline ‘Founded in 2014 by Zosima, RC & MH‘. What can you tell us about them? What are the roles each one of you guys cover in managing the label? Or, would you rather prefer to keep some mistery alive instead?
A: I started djing pretty young in Madrid, but everything that happened at that time was only driven by a personal interest I kept mostly private. It obviously produced a background and influences all what it is happening now, but there is nothing remarkable inhere. How the label operates or how we organize ourselves is our very own problem. This is not important at all and it is not what all this is about. It is the label the one, who has to speak by itself and not the people behind it.
Q: Going on asking something related to the previous question: how did the two first official Noiztank nights go [#1 and #2, that took place both in Vienna respectively on April the 2nd and May the 13th]? What is your relationship with clubs and art gallery such as AU and Maschinenraum that are heavily supporting your acts? Are you guys going to play a showcase outside Austria sooner or later?
A: Teaming up 2-3 times/year with Maschinenraum is great. Masterminds Tilo Stahl and Jojo Todos give us the opportunity to use their platform to line up the nights as we want. Here we present the techno side of the label. Independently from Noiztank I also play as kind of resident here. Parallel to this, we recently started hosting a series of events in AU only run by Noiztank. The concept is based on ambient/abstract/industrial live acts. It is a perfect lab for meeting and presenting Vienna based experimental artists. Most probably in a non-distance future things will start happening outside Vienna. The agency Potnia Theron in Berlin takes care of the bookings and I want to believe that the artist roster is pretty appealing and assorted.
Q: What is your musical background? What are the main influences flowing together in Zosima’s production? In the widest sense possible of course. Feel free to name also artists / acts that has been fundamental for you in developing your take on electronic music and art as your own trueful self-expression.
A: If by musical background you mean any kind of musical education in the traditional understanding of the word, the answer is unfortunately not. After djing for many years, at same point I just decided to make my own stuff and meshing around with the initial tools I could afford at that moment. I am very inconstant in terms how and how often I make music. At least to me it is impossible producing under any kind of request. It is something that has to come out in a natural way in a specific moment under certain circumstances. Then it is the time when I can be very productive. It can happen that I do nothing for 6 months and suddenly 4-6 new tracks appear in one week. I am constantly changing techniques and methodologies probably in order to reach a diversity of results. Therefore I would say that influences force me to define moods to be translated into music. Rather than maintain a fixed discourse I am driven by illogical and variable inputs.
Q: What can you tell us about the artworks of Noiztank’s records? Are you the author of everyone of them? Are they physical works you did, and which techniques did you use to produce them? How would you describe the style you’ve been using for NTK002 to NTK005? Do you hold any other artistic activity other than the label?
A: Every release is thought as a complete package: music, artwork, text, format, etc. has to be somehow driven under the same concept. Every EP tells a different story, so all the elements have to work in the same direction in order to create a coherent story. It changes with every EP because every artist has a different point of view. By now it is me the one who translates these ideas into graphic designs. NTK002 and NTK005 artworks follow the same principles that also rule the EPs. In these particular cases there is a desire to overcomplicate things. Produce something that it is not easy to read, listen or understand. Play around with different complexities. I would define the tracks as a collage of sounds, so artworks can also be considered kind of collages. Label outcomes are high influenced by my professional and teaching activities, which are directly related with design fields. Probably there is not a 100% direct connection, where I use elements in the same way for both worlds, but definitely I share the same way of thinking, approaching and solving the artistic issue.
Q: We’d now like to talk about NTK005, which is the Metamorphosis 12” released late January 2016. The record is slightly different with respect to your previous works, in the sense that there’s an even stronger will to experiment and push forward any limit. Is that why the record is centered around birth, renewal and transformation themes? – we feel that the link is quite evident, given also the track’s titles Embryo, Larvae and Pupae. How did you get in touch with Eric and Konstanze (OAKE) for the two remixes?
A: Yes, it is. The record can be read as the transformation or metamorphosis of a musical body from its birth till death. It produced a shift from the previous aggressive danceable music into something a bit more introspective. In the past months I moved away in the studio the ideas that produce a work suitable for a club, for others where the level of abstraction aims to something more emotional. I just sent the concept and tracks to Eric, he liked it and decided to create an ending to the story.
What we know as avant-garde seems to look back every time more to the past. An aim of finding new reinterpretations produces deeper and deeper researches into the most primary roots of electronic music, but actually that conflict between old and new is gone. Then, what does it mean a radical idea versus the image of a radical idea? Whether something is genuinely radical is so only if it hasn’t been done, or is difficult to do, or the results are uncertain, which is different from reproducing years later what the discipline learned to do in former times. The struggle to implement and to understand new work, as a valued act of conduct is very different from repeating a learned image. This dichotomy founded the basics of Zosima’s original tracks. The sequence continues with two OAKE’s remixes and it is closed by a narrative of divine ectasy. A monstrous sensuality, that takes you to the end without noticing it. www.noiztank.com
Q: What can you tell us about the Embryo videoclip by D. Steck, a weird mixture of psychedelic digital effects, Jodorowsky-ian desolated settings and exploding organic-structures? Where were it shot? What about the other videos the29nov films did? What extra-feature do you feel this strong compenetration of music and visual / video art could add to Zosima’s and Noiztank’s music?
A: The video is a film by Damien Steck called Para Site Choi. It is a collaborative project including more than 15 digital artists. One of my students was involved in the production and the very first time I watched it I thought it would perfectly suit into something for the label. About the29nov films’ videos I have nothing to do with the content. It is Sebastian the one who brings his own character to the tracks. I am happy with the results, therefore we will continue the activity. Video production for music purposes is something I am still not on it, but I find a key element to complete the stories I talked before. Especially in live acts, it produces a visual reaction to the audience that reinforces the audio signal. It is already in my “to do” list.
Q: Even though it would maybe be more appropriate to address questions to the artists who actually produced and conceived the single Noiztank releases, we feel is important to know your point of view about them too. In particular, being us an Italian webzine, we could not avoid asking you some information about the artwork of Ontal’s Pietà, showing Michelangelo’s Pietà together with a piece of Ernest Pignon-Ernest street art [to see a gallery of the original work click here]. Why the choice of the Italian maestro and the never-forgotten writer / poet / director? Do you think Boris and Darko managed to translate into music Catholic-guilt-related feelings?
A: I was in Rome at the time Ontal sent the EP. I accidentally found this piece of street art in different areas of the city and the first thing that comes into my mind was the Pietà by Michelangelo. I couldn’t find too much info about it, but obviously the artist(s) based the artwork on the Renaissance sculpture. I photographed “a Pietá del 21 Secolo under Ponte Vittorio Emanuele II, which is a few blocks from St. Pietro. I found it extremely ironic, so I wanted to compare both pieces in the EP. Ontal liked the idea and it fixed with the music, so they named the tracks according to this concept. I think the artwork reflects the duality the music presents in the EP.
Nothing remains but to hope the end will come to extinguish the unrelenting pain of waiting for it” [Pier Paolo Pasolini]. Ontal’s work excites many conflicting emotions. Exuberant, convoluted and theatrical plots define the watchwords attached to the Serbian duo. They represent one of the most paradigmatic examples of how industrial/techno can still offer a wide range of pleasant surprises. A visceral understanding of the scenic rhythm space vs. void establishes a metamorphic composition in short of an almost Baroque sensitivity. Always moving around an unstable fringe of intuition-rules-over-eclecticism, together with an attitude of total irreverence against any old aphorism, but keeping at the same time an incredible discipline of sophistication, produce a situation where anything touched by them have to be immediately placed at the top of the evolution line of the electronic music. “Pietà” simply shows this feeling at their best. www.noiztank.com
Q: Finally, what lies in the future of the label? Do you feel you can reveal us some? Have you defined an ultimate goal for Noiztank to be reached? In which direction do you think Zosima’s next steps will be? How do you consider your first releases on Vizion Division and Serial Number 849 now?
A: Noiztank is driven by very personal motivations and honestly we expect nothing at all. If you take money out of something, what remains is only passion. It is just another way to express ourselves and at the moment we would not be comfortable/sure about what we are doing or we couldn’t produce something interesting anymore, I’d have absolutely no problem to close it. Other than the Huren / Kareem split you presented already, within few months NTK007 by Zanias aka Alison Lewis will see the light. I cannot say much more about the future of the label simply because I don’t know it. I don’t usually plan more than 2 or 3 releases in advance. Same answer for Zosima’s next steps. Everything seems to work by impulses here. Previous releases are always part of the never-ending learning process. I wouldn’t produce something similar now, but it is something that defines you and can be considered as key frames that traces your artistic evolution.
Q: Thank you very much for your time and the time you spend answering our questions, and recording the killer mix we’re now hosting on our mixcloud channel. See you soon!
A: Thank you too for the deep research of the label activities. It was a good exercise of self-reflection.
- Kareem presents Ligeia – The Borromeos Arrival [Noiztank 2016]02. Silent Servant – Time In Body [Jealous God 2015]
- Black Rain – Xibalba Road Metamorph [Blackest Ever Black 2014]
- Ontal – Lamentation [Noiztank 2015]
- Esplendor Geometrico – Mitambo [Geometrik 2013]
- Damaskin – Entrance [Noiztank 2015]
- Rrose – Worn/Scarred [Sandwell District 2012]
- Kareem presents Ligeia – Meyrink [Noiztank 2016]
- Huren presents MRTVI – Partial Deletions [Noiztank 2016]
- Vatican Shadow – Remember Your Black Day [Hospital Productions 2013]
- SHXCXCHCXSH – Elocution [Avian 2014]
- Zanias – Follow The Body [Noiztank 2016]
- Covered In Sand – Luarica [Mira 2014]
- Surgeon – Transparent Radiation [Dynamic Tension Records 2011]
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PAYNOMINDTOUS is a non-profit organization registered in December 2018, operating since late 2015 as a webzine and media website. In early 2017, we started our own event series in Turin, IT focused on arts, experimental, and dancefloor-oriented music. We reject every clumsy invocation to “the Future” meant as the signifier for capitalistic “progress” and “innovation”, fully embracing the Present instead; we renounce any reckless and ultimately arbitrary division between “high” and “low”, respectable and not respectable, “mind” and “body”; we support and invite musicians, artists, and performers having diverse backgrounds and expressing themselves via variegated artistic practices.
Born in Brescia, Italy (1989), after his Master Degree in Engineering for Comm. Technologies & Multimedia he moved to Turin where he currently lives and obtained his Ph.D. Among his interests: dinosaurs, music as an unbiased form of social/cultural expression, Guy Picciotto.