“Delmore FX (moniker of poet and artist Elia Buletti) is a purveyor and craftsman of avant-world and post-world sounds. His sophisticated but straightforward electroacoustic language made of experimental novelty and folkloric ancientness has the oblique capacity of making one listen, dance and think astray at once. [...] Built around the mundane but magic disappearance of shapes, things and beings alike in the somber tiredness of nocturne shadows and vaporous ashen fumes, the album’s ten tracks are graftings of new investigations where the focus is Delmore’s renewed interest for the organic resonance and corpus of acoustic instruments. [...] Perhaps interestingly, “Scompaio” is but a simple suggestive choice for the album title. After getting lost researching the album tracks’ quasi-visible shape by squinting his eyes and ears on the acoustic instruments in long sessions, without recording or fixing the flowing appearances, Delmore FX then tried to remember and replicate said shapes in several takes, subsequently blurring the aural and physical contours of his acoustic souvenirs with randomized audio-to-midi sequencing. The result is an enticing, beguiling sound adventure into the unstable and ill-defined outline of objects where shapes get lost and shift vertiginously at the expense of the listener by means of demented sample superimpositions and crackbrained audio collage. For who knows the man, Scompaio is further proof of Delmore FX’s successful tentative process & progress in the untimely aural quest against stable configurations of things. An aim obtained with the usual stuttering confidence of a somewhat gitty form of musical rhabdomancy”. (Communion / Artetetra / Das Andere Selbst)

“The fifth arthropod of the Occulto Night 2016 season is a beautiful Inachis Io specimen, showing its ventral black surface and introducing you to two great duo performances.

THISQUIETARMY X PHILIPPE LEONARD: DRONE GUITAR RITUAL X DUAL16MM PROJECTIONS

An opportunity to see in action Philippe Leonard, influenced by the great tradition of North American experimental cinema, whose practice on film (16mm and 35mm) led him to important collaborations, including the contribution to the visuals of Godspeed You! Black Emperor, and the pioneering Thisquietarmy music project. The Canadian duo works in great synergy on the possibility of expanded cinema. An alchemy of cinema and sound, working on the matter and on devices (16mm film projectors/electricity, guitar and pedals) for a journey that explores the possibilities hidden in the image and its serial essence.

THISQUIETARMY

Montreal-based project active since 2005, pioneering the experimental music scene emerging from Canada. Revolving around improvised guitar drone and by combining textural & structural elements of ambient/noise, electronic/shoegaze, post-punk/krautrock, black/doom metal, thisquietarmy creates an impressive wide range of dynamic soundscapes which oscillates between the beauty of repetitive dreamy minimalism and the heavy suffocation of multi-layered noisescape and industrial beats, as presented in its prolific discography comprising of over 30 releases on more than 20 different labels including Denovali Records, Aurora Borealis and Shelter Press. thisquietarmy has recorded collaborations with Aidan Baker (Nadja), Scott Cortez (loveliescrushing), André Foisy (Locrian) and Labirinto, among others, and has taken part in other projects such as Hypnodrone Ensemble, Destroyalldreamers, Mains de Givre & Parallel Lines. He performed in more than 30 countries in North/South America, Europe & Asia, including appearances at Nemo Digital Arts Biennale (France), Incubate Festival (Netherlands), Le Guess Who (Netherlands), Dunk! Festival (Belgium), Amplifest (Portugal), Zemlika (Latvia).

PHILIPPE LEONARD

Canadian experimental film-maker, based in Montreal. His artistic practice focuses on still and moving images, through film, photography, performance and installations. His theoretical and aesthetic reflections focus on the complex temporality of still and moving images, the spectral dimension of physical spaces, and expanded documentary practices. Distributed by Light Cone and CFMDC, his work has been showcased in notable international contexts, such as the 16th WRO Media Biennale (Poland), Rotterdam International Film Festival (Netherlands), Anthology Film Archive (New York), Galerie Michel Journiac (Paris), Cineteca di Bologna (Italy), European Media Arts Festival (Germany), O ‘Gallery (Milan), Museo Nitsch (Naples), Struts Gallery (New Brunswick), Annecy International Animated Film Festival (France), Galerie Les Territoires (Montréal), etc. As a cinematographer, he is involved in artistic, documentary and commercial audiovisual projects, using a broad range of cameras and formats: Super 8, 16mm, 35mm, HD, etc. Philippe Leonard emphasizes a mastery of both analog and digital techniques to create moving images. In 2013, he was awarded a residency at the MIT Media Lab to study under the mentorship of the late Harun Farocki. He is a member of the Montreal collective of experimental cinema Double Negative and Millenium Film Workshop in New York City.

MARIMBA

Marimba is an ongoing side project by Paul Jones (Cindytalk, Mothership Convention, Stolen recordings) and Elia Buletti (Delmore fx, Das Andere Selbst). They met in Berlin on 2013 and share since then a multitude of interests and diverse influences from metaphysical bacterium to gate compression. They’re creating instinctive natural sonic forms that evolve through improvisation and derangement of all the senses.

The OCCULTO NIGHT series brings good independent music in Berlin with a focus on experimentation, cross-genre projects, rare performances and new material; it is informed by and closely connected with the vision and interdisciplinary attitude of the yearly science and arts publication Occulto.”

Event @ Facebook

Occulto 

Eigentlich kann man die in der Labelbeschreibung eher zufällig in dieser Reihefolge gelisteten Tags “experimental mindexpansion running blues” wunderbar als passendes Genremonstrum gelten lassen, denn die ersten und letzten Minuten der beiden 20minütigen Tracks bestehen aus den gesampleten Geräuschen, die Schuhe, Wind und Atem beim Dauerlauf machen. Ist der Hörer erst eingestimmt auf den konsequenten, aber nie vollends gleichförmigen Rhythmus, beginnen irgendwann seine John Fahey-artigen Finger Pickings und präsentieren einfachen Figuren in roher, improvisierter Form. Recht zufällig und ad hoc arrangiert wirkt all dies schon wegen diverser Sounds im Hintergrund, wo ein Fernseher läuft, jemand spült oder sich lautstark unterhält. Doch die Schlichtheit täuscht – vielleicht mit Absicht – über die fragile Schönheit der kleinen ungekünstelten Ornamente hinweg. Immer wieder kommt es zu Brüchen, und andere Takte und Melodien übernehmen das Feld. Jede der fragmentarischen Episoden lässt in der Fantasie der Hörer die Idee zu fertigen Songs entstehen, die sich im Kleinen alle schon in diesen exzerpthaften Sequenzen finden. Manche dieser Abschnitte lassen Reminiszenzen an Musik aus dem vorder- und zentralasiatischen Raum anklingen, und man kann sich das Ganze dann auf der Oud oder der Sas gespielt vorstellen. Manchmal erdig und roh, dann wieder von einer entrückten Lieblichkeit halten die Fingerübungen stets die Balance zwischen Simplizität und Weite, die für die Effektivität solch minimaler Klänge wichtig ist.

Während der zwei langen Stücke hat der geheimnisvolle Rasmus aus dem Albumtitel nicht angerufen, und er kann sich meinetwegen auch gerne Zeit lassen, falls das zu einer Vortsetzung führen sollte. (A. Kaudaht)

Label: Das Andere Selbst