Well I'm back. I'm taking a Dante-like journey in Hell so I'll record the screams, I can't tell what I'm turning into anymore... perhaps a demon?

almost automatic landscapes (aal) is an electronic, ambient, drone, cosmic and experimental solo project run by Davide Valecchi (Italy). Check the links for more.

KK NULL (real name : KAZUYUKI KISHINO) was born in Tokyo, Japan. Composer, guitarist, singer, mastermind of ZENI GEVA. One of the top names in Japanese noise music and in a larger context, one of the great cult artists in experimental music since the early 80′s.

In 1981 KK NULL studied at Butoh dancer, Min Tanaka’s “Mai-Juku” workshop and started his career by performing guitar improvisations in the clubs in Tokyo. He continued by collaborating with MERZBOW for two years, and joining the band YBO2 (with Masashi Kitamura, the chief editer of “Fool’s Mate” magazine and Tatsuya Yoshida, the drummer of RUINS) and starting the improvised noise/rock trio ABSOLUT NULL PUNKT (with Seijiro Murayama, the original drummer of Keiji Haino’s FUSHITSUSHA), and also GEVA2 (GEVA GEVA) with Tatsuya Yoshida (RUINS) and Eye Yamatsuka (BOREDOMS)

In 1985 he established his own label NUX ORGANIZATION to produce & release his own works and subsequently the bands such as MELT-BANANA and SPACE STREAKINGS. He also produced the series of “Dead Tech” (compilation albums by Japanese bands) which heralded Japanese alternative music boom internationally from the early 90′s to date.

In the early 90′s he gained world-wide recognition as the mastermind, guitarist and singer of the progressive hardcore band ZENI GEVA, releasing five albums produced by STEVE ALBINI (two on Jello Biafra’s Alternative Tentacles label) and a few more on other labels such as NEUROSIS’s Neurot Recordings. Also ZENI GEVA recorded twice for JOHN PEEL SESSION on BBC, and immensely toured throughout Europe, USA, Australia, New Zealand and Japan, playing hundreds of concerts.

All the while, KK NULL has worked on his solo career and collaborated with other musical innovators such as Z’EV, CHRIS WATSON, KEIJI HAINO, JON ROSE, MATMOS, FRED FRITH to name a few, and has been invited to perform at international festivals such as “Presences Électronique” in Paris (France), “Sonar” in Barcelona (Spain), “All Tomorrow’s Parties UK“, “Radar” in Mexico City (Mexico), “International Sound Art Festival” in Mexico City (Mexico), “Sergey Kuryokhin International Festival (SKIF-6 & 8)” in St.Petersburg & Moscow (Russia), “Elevate” in Graz (Austria), “X-peripheria” in Budapest (Hungary), “Liquid Architecture” in Sydney, Melbourne, Brisbane (Australia), “Totally Huge New Music Festival” in Perth (Australia), “Avanto Helsinki Media Art Festival” in Helsinki (Finland), “Roadburn” in Tilburg (Holland), “International Festival Musique Actuelle” in Victoriaville (Canada), “Electron” in Geneve (Switzerland), and more.

After playing the guitar as his main instrument for nearly thirty years, KK NULL has gradually moved towards a more electronic approach. Since the late 90′s he has concentrated his efforts on his solo & collaborative recordings, exploring the outer territories of electronica, creating intense clashing wave of noise, structured electro-acoustic ambience, broken down rhythmics, scattered pitch sculptures, droning isolationist material which could be described “cosmic noise maximal/minimalism”.

---------------

Commissioned works （主な委嘱作品） :

- "Cryptozoon" surround composition for "Festival Presences Électronique 2013" by Ina GRM | Paris, FRANCE

- "Edging" music for dance theatre by Tazcorp | Paris, FRANCE

- "Visiting Tarab" live performance piece by Sharjah Art Foundation | Sharjah, U.A.E.

- "Aria, Acqua, Fuoco, Terra" sound for exhibition "Andar Par Stelle" by Cesare Berlingeri | Padova, ITALY

- "A Page Of Madness" soundtrack for a Japanese silent film "Krutta Ichipeiji" (directed by Teinosuke Kinugasa 1926) by Buda Arts Centre | Kortrijk, BELGIUM

---------------

本名：岸野一之（キシノ カズユキ）。東京生まれ。プログレッシヴ・ハードコア・ロックバンド ZENI GEVA（ゼニゲバ）のリーダー、ヴォーカリスト、ギタリストにして作曲家、エレクトロニクス他マルチ楽器奏者。1980年代初期より活動を始め、日本のノイズ・ミュージック・シーンのみならず、世界屈指のカルト的なアーティストのひとりである。

1981年、舞踏家田中泯が主宰する舞踏ワークショップ「舞塾」修了後、ギター・インプロヴァイザーとして活動を始め、ソロ活動と並行してメルツバウとのコラボレーション、ハナタラシへのライヴ参加、YBO2のギタリストやインプロヴァイズド・ロックトリオ ANPのリーダーとして活躍。また吉田達也（ルインズ）、山塚アイ（ボアダムス）と’87-’88年の間結成していた伝説のバンドGEVA2（ゲバゲバ）での活動もある。

1985年、レーベルNUXオーガニゼーションを設立し、自作のみならずメルトバナナやスペースストリーキングス等バンドのプロデュース、さらには日本のオルタナティヴバンドを初めて海外へ紹介したオムニバスレコード『DEAD TECH』シリーズをプロデュースし、アメリカとドイツのレーベルより共同リリースする等、早くより海外を視野に入れた活動を展開する。

1987年、ZENI GEVA（ゼニゲバ）を結成、90年には初のUSAツアーを行い、スティーヴ・アルビニをプロデューサーに迎えてアルバム『全体去勢』を制作。その後アルビニと共同制作したZENI GEVAのアルバムは5枚を数え、アメリカとヨーロッパを中心に精力的に海外コンサート・ツアーを行ない、イギリスBBCの「ジョン・ピール・セッション」にも2回出演。

バンド活動と同様ソロおよびコラボレーションも活発で、KK NULL個人としてこれまでにライヴ共演またはレコーディングを行なった主要なアーティストは、スティーヴ・アルビニ、フレッド・フリス、ジョン・ローズ、アレクセイ・ボリソフ、ビル・ホリスト、ゼヴ、クリス・ワトソン、ダニエル・メンシェ、ジョン・ウィーズ、マトモス、秋田昌美（メルツバウ）、吉田達也（ルインズ）、灰野敬二、山本精一等枚挙にいとまがない。

近年はギター中心の音創りからより純粋なエレクトロニック・サウンドへと移行し、いわゆるノイズという一言では括りきれない多角的かつ重層的アプローチで深遠な電子音響世界を創造し、そのユニークなサウンドは、「ミクロ宇宙からマクロ宇宙までを網羅し、銀河の果てからはらわたの中までをリンクする」と形容され、「コスミック・ノイズ・ミニマリズム」等とも表現されている。海外の音楽及びアート・フェステイバルへの出演も多く、国際的評価は高まる一方である。またこれまでにリリースされた作品は（バンド、コラボレーションも含め）100タイトル以上に及ぶ。

It all started with a research that has united them and, goes beyond all technical and musical knowledge. A research that lead to the observation of an existential prison to which the key can only be found in the quality of presence: being without necessarily making. Being music as a fluidity that marks each instant in the passage of time with open eyes and heart, by observing the constant hum of the mental dissolution, and by diving into the flow of sound. They _ sought _ sound from the beginning, without another code or language being used. “It” emerged after having ”electro accousticly talked” for several hours. “It” is a conversation between a piece of brass with a vibrant past (and present) in classical studies, performances ranging from orchestras to jazz clubs, from the road, to audio-visual installations, and a sophisticated mix of samples. A dress woven of acoustic sounds with electronics, “A Dark Dress” ventures into landscapes without borders, the most of which are still unknown. Therefore, common experiences for Stefan Röslmair (piano, voice and live electronics) and Max Di Carlo (trumpet, voice and electronics) _ were fused together in a journey that began in 2011 by making a soundtrack for a projection mapping at the Kernel (Desio – Milano) festival and continues between Genova and Marche by shaping songs and live sets that arise through improvisation and interaction with each other.

Una colonna sonora del futuro prossimo, un mantra-rave, un viaggio nella consapevolezza.

A soundtrack of the near future, a mantra-rave, a journey into awareness. 

NORV :: the distant echo of a ship forgotten in the desolation of the Arctic Ocean 

NORV :: the lonesome cry of the sailor forsaken by his God in the midst of nowhere 

NORV :: bring your compass and you warmest outfit, you will need them for sure 


WH†P ME nasce da un incontro malato tra due persone: NAOTODATE e XXX
Le Pazzie lo-fi vocali e strumentali di XXX spedite per mail a NAOTODATE e manipolate, tagliate, frustate, picchiate, uccise.
Unione sessuale tra due persone che sfogano i propri difetti e le proprie mancanze nell'atto sonoro. Romanticismo BDSM, sensazione di trovare una dimensione di amore nel fantasmatico.
Assaporarsi i video Witch-House più estremi, partire dalla concezione di fare musica con pochi mezzi e arricchirla con la sensazione di purezza delle dilatazioni dell'essere.
Esoterismo silenzioso via etere, attesa delle follie dell'altro. Rigenerazione alchemica di litanie intime e abbandonate.
Allucinazione, melodia e rumore, la paura che tutto ciò finisca ogni minuto.

WH†P ME - BRING ΔΔE YOUR DAUGHTER  
è il primo mini dell’anno fine christi 2011, prodotto dall’etichetta indipendente D.I.Y. “UTU Conspiracy”, divulgato in 66 copie in cdr e gratuitamente online.
  

...born 1980 in Hamburg, Germany. in 1996 i discovered the world of hard electronic music...
 and immediately fell in love with it... i never heard music with that extreme energy and passion behind it before...
 in 1997 i decided to create music myself... my style back then was mostly experimental hardcore, breakcore and speedcore...
 in 2000 i had my first release then, my 12" on Blut recordings.
 later that year, Betty Bombshell and me started a show on the terrestrial radio station "FSK" in Hamburg.
 the idea of the show was to broadcast music from the experimental and hard music scenes to an audience that might have not much contact with that kind of sound before. Betty left the show in 2001. 

 there was still a need for that kind of thing in Hamburg; Sampler19 and me teamed up, and we created the "Hamburg Hardcore Radio" show.
 apart from playing old and new records and tracks from the hard scenes on air, we also did many all-night shows, featuring a lot of guest DJs. later, The Man Unknown and DJ Escada joined us, and we started a crew that did the radio shows together.

 in 2002 a 12" by me was released on Praxis, i was very happy about this release, but i do not want to hype myself here, so i won't say too much.
 later that year my 12" on Black Monolith came out, which was again a bit different than my earlier releases, because it was an Hardacid/Acidcore EP.
 2002 was also the year when me and Sampler19 started the "All-Out Demolition!" parties in Hamburg. later, DJ Escada and The Man Unknown joined our crew there, too.
 the idea of All-Out Demolition! was to create a party series for the extreme, interesting and experimental types of Hardcore and Breakcore - parties for that type of sound only happened very rarely in Hamburg back then.
 in 2003, an album by me was released on Widerstand records. but again, i do not want to hype myself too much. the sound was in the various "styles" i produced in so far... breakcore, noize, ambient...

today the styles of the music i produce include breakcore, acidcore, doomcore and dark ambient.


influences on my work include: william gibson, stanislaw lem, bruce sterling, franz kafka, max stirner

musical influences include krautrock, postpunk, new wave, detroit, rave, acid house, classical avantgarde, dark ambient, industrial, chiptunes, gabber, hardcore techno

GENRES:
from Musique Concrète
to power-electronics...since 1990

BIOGRAPHY:
F.ormal L.ogic D.ecay (at first called simply "FLD") is the most experimental and unpredictable between projects of Luigi Maria Mennella: pure essence of sound research free from any kind of categorical gender restrictions. 
Notwithstanding his purely classical musical education, Luigi approaches to this artistic choice already during adolescence, dazzled by the practices of John Cage for piano (an instrument that now plays more than 30 years) and the vocal experimentalisms of Stratos, which have increasingly moved him away from the hieratic rigidity of the setting opera (studied both as a baritone and tenor with the Romanian soprano Lucia Stanescu).
In the early 90s, since he was not yet using computers and hard disk recording, Luigi carried out his first recordings on a simple Forstex analog multi-tracker, without spreading his tapes in a industrial scene who moved only marginally in, because of his assiduous commitments with metal bands. Scene which he'll definitively leave in 2000 to found his own industrial / electronic label music ( Anaemic Waves Factory) dedicated to a niche market and start to focus better on its 3 main musical projects (FLD, En Velours Noir and Furvus). 
Many of those tapes have been unfortunately lost or have deteriorated, but he's still working on their restoration, and now for the first time in twenty years some of them will finally be available in limited edition in the box "CelebrAction" (Selenophonia, 2011). 
His listenings and sound / voice experimentations haven't always easily stop, engulfing, filtering and appropriating a lot of different unconventional plays, then provide the basis for a corpus of singular modes of expression.
This has given rise to a record production very heterogeneous (more than 50  between official releases and collaborations from the early 90s to the present), which swings into the specifics of F.L.D. between musique concrète and power-electronics, through industrial, dark ambient, ritual, space music, lowercase, apocalyptic folk, martial, aggrotech and cinematic sound in general.


DISCOGRAPHY:
“F.ormal L.ogic D.ecay”
(self produced, 1990) MC

“Devocalizzi”
(self prod., 1990) MC 

“?”
(self produced, 1991) MC 

“Lac(hr)onic”
(self prod., 1991) MC 

“anaLOGIC 95”
(self prod., 1995) MC 

“inFORMAL 96”
(self prod., 1996) MC 

“Halloween” [cover song]
(s.p., 2000 ca) MC 

“Wearing out til Obliveon” [song]
[included in “Florilegium Insaniae”]
(Hiems Creations, 2000) CDR 

“Empternity”
(Anaemic Waves Factory, 2000) ltd CDR 

“Apocalypnosis”
(Anaemic Waves Factory, 2000) ltd CDR 

“Apocalypnosis (re-arranged)”
(Anaemic Waves Factory, 2000) CDR 

“Verso l’Equilibrio” [song]
[included in “The Suns of Lutetius”]
(A.W.F./Oktagön, 2001) CDR 

“Løvstakken
(a sonorized enviromental report)” (Anaemic Waves Factory, 2001) ltd CD

“Macht geht vor Recht” (s.p., 2001)
promo-mcd 

“From Dead Temples”
(End All Life Prod, 2001) LP
(cooperation with Altar of Perversion)

“Løvstakken
(a sonorized enviromental report)”
(Dark Vinyl, 2001) CD

“Antropophagus” [song+essay]
[included in n.0 of Amoeba magazine]
(Rustblade, 2003) magazine + CD

“La prima volta” [song]
[included in “Snuff Electronics”]
(Butcher’s House, 2003) ltd CDR

“Lac(hr)onic” **
(Anaemic Waves Factory, 2003) ltd MCDR

“CyBEARnetics” [song]
[included in “Teddy Bear Remix Project” ]
(A.f.e. Records, 2003) 4-CDR set

“#8703: last harsh expression” [song]
[included in “The Power Propaganda”]
(Anaemic Waves Factory, 2004) ltd CDR

“Tribute to Koji Tano” [song]
[included in homonymous tribute project ]
(Steinklang Recs, 2005)
downloadable 10-CD set

“That Old Black Magick” [song]
[included in “Arte Noise”]
(MDT/Noise Industry, 2006) ltd CDR

“CelebrAction” *
(Selenophonia, 2011) ltd 3-CDR set

"His Master's Void"
(Steinklang Industries/2013) CD

F.ormal L.ogic D.ecay is following