Track Premiere: Endless Incapacitating Discomfort by Venta Protesix [Urbsounds]

Artwork by Ludwika Micińska aka Tissue.Hunter

Venta Protesix is a digital noise project started in 2007 by Italo Belladonna, a Salerno-based non-musician who with his many monikers has been releasing on several important Italian labels such as Setola Di Maiale, A Dear Girl Called Wendy, Angst, and many many others. Gathering the vast amount of digital productions by the composer who intentionally self-affirmed himself outside any current musical scene or genre, Venta Protesix will be releasing in two days its latest work, called Endless Incapacitating Discomfort, on the Slovak “abrasive music label” focused on electronic music and rhythmic noise called Urbsounds. The record can be bought at this link in CD or digital format, and we’re pleased to premiere the title track which is available at the end of the article. Push the button!

We collaborate with artists who focus their attention on desolated parts of society and reflect it in a challenging way. There are scars all over this dystopian sprawl we are living in. Urbsounds is collecting the grime that oozes from the wounds, using this fluid to fuel the pressing of vinyl LPs and the coding of digital releases.

Reaching its second outing on Urbsounds – the first one being a fucked-up laptop noise purism manifesto named Sickening Digital Rainbows and out last year – Venta Protesix furthers on the deranged project of Italo Belladonna which has been mainly based on blending the eeriest and deviant aspects of Japanese social and sexual culture (pinku-ega, ero guro, J-pop teen idols imagery, enjo kōsai) with total-nonsense abstract-digital-unmastered noise music, resulting in a total hardcore listening experience which admittedly aims at destroying any possibility of finding a meaning to the act of producing, composing (or even thinking to) music. The very name of the project itself, Venta Protesix, is a purely made-up name which accounts for the absolute absence of meaning of the act, reportedly focused on “overdriving perversity and derangement into the recursive fractalizations of digital noise“. With its latest outing, however, Venta Protesix leaves behind that kind of imagery in favor of a strong focus on the current Internet society and the relationship with its typical features-slash-illnesses such as fear of failure, incapacitating discomfort (indeed), medication abuse, environmental pressure – the jagged software-rendered artwork by Ludwika Micińska aka Tissue.Hunter plays its role as well in this direction.

Endless Incapacitating Discomfort, split into 9 separate tracks, collects a very huge amount of different types of frequency bursts and track durations, going from the amazing, relatively heavenly 1-minute-long opening tune (Psychotic Collapse) to the longest one in the lotto – which is indeed the eponymous composition you can stream via the Soundcloud player below. In the middle of the release, you can find 8-bit noise parades, incautious references to ugly facial porn, and tales of post-masturbatory suicide which reveal an approach to composition that skillfully juxtaposes rigorously-digital harsh noise, glitches, and loud explosions to warm passages of post-vaporwave music, submerged in puddles of deep-web banned contents (see for example the fourth track, namely Her Keyboard Drowned in Tears, one of the best in the record and already appeared on tape for Fall Into Void Records). A final information on EID: no mastering has been made for these tracks. It would have been useless – like, in the end, all music is. 

Follow Venta Protesix and Urbsounds. Get your physical copy of Endless Incapacitating Discomfort at this link


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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.