Stay Brutal 2022

Mario Lino Stancati/Enomisossab/Luca Giordana

Stay Brutal 2022

STAY BRUTAL  2022

Slaps Orchestra
Improvised sessions on Mimas (Dark Side)

In this track:
Remo De Vico: conductor
Mike Gazzaruso: synthesizer, electronic drums
Valerio Panettieri: electric devices
Massimo Palermo: feedback system
Giuseppe Scola: cello
Cristina Pullano: voice
Fil Mama: voice
Costantino Rizzuti: live electronics, voice
Mario Lino Stancati: effects guitar
Angelo Capoano: acoustic guitar
Giuseppe Bottino: loop guitar
Ciccio 'Gonzo' Falcone: noise bass
Madda Patanè: sound objects

Registrazioni Studiolo Laps
Estratto 1.2 - 6 Novembre 2015
Sound Engineer Alessandro Rizzo
Creazione Slaps Orchestra


Improvised sessions on Mimas (Dark Side)

SLAPS ORCHESTRA
Studiolo Laps Live Recording Vol.4

Remo De Vico: Conductor
Giuseppe Bottino: Loop Guitar
Ciccio 'Gonzo' Falcone: Double Bass
Massimo Palermo: Feedback System
Valerio Panettieri: Electric Devices
Alessandro Rizzo: Live Electronics
Giuseppe Scola: Cello
Mario Lino Stancati: Effects Guitar, Keyboard

Live Concert Recorded at Galleria Nazionale "Palazzo Arnone", Cosenza, Italy - December 18, 2015
Sound Engineer: Alessandro Rizzo

Released 10 January 2016
Studiolo Laps 2016 ___SL054___

Slaps Orchestra /// Studiolo Laps Live Recording Vol.4

Composition, voice, electric devices, mixing: Mario Lino Stancati 

Uploaded 26 October 2016
Published 17 December 2016 by GATTI ROSSI CHE CADONO 
https://archive.org/details/GRCCN0031016

KABALIKA è una breve composizione sonora incentrata sulla voce e sul suo possibile utilizzo all’interno di un contesto elettronico. Nella fattispecie, come metodologia di lavoro, non si è inteso pensare e adoperare la voce quale virtuoso strumento esecutivo di dinamiche e sviluppi (musicali e non), bensì come esemplare fonte di vibrazioni e frequenze sonore, ovvero come sorgente organica da cui trarre un semplice campione acustico da (ri)elaborare eccentricamente e su cui intervenire in modo concreto, impiegando i più disparati attrezzi e processi digitali inerenti, per lo più, l’effettistica audio. La declamazione di pochi versi appartenenti ad un antico libro esoterico, dapprima registrata e poi alterata, deturpata, capovolta, gonfiata, distorta ed elettronicamente de-costruita, rappresenta, in estrema sintesi, lo scheletro vibrante e portante su cui si poggia l’intera composizione sonora qui presentata, da intendersi, anche, come ulteriore approfondimento di una mia personale sperimentazione artistica e vocale, strettamente legata ad una idea di Teatro pensato quale tempio indiscusso della poesia, dell’ ascolto, del tremendo. Mario Lino Stancati

KABALIKA is a short musical composition focused on voice and its possible use in an electronic context. The underlying idea is not to perceive voice as a virtuoso instrument producing dynamics and further developments (either musical or not), but rather as a model source of vibrations and sound frequencies, namely as an organic source of sound from which to draw just a sample to be eccentrically re-elaborated and on which to intervene in a concrete way, using the most diverse tools involved in digital audio processes. The lyrics which are taken from an ancient esoteric book (first recorded and then altered, defaced, capsized, swollen, distorted and electronically destructured) are, in a nutshell, the vibrant skeleton and carrier on which the entire composition rests, to be understood also as a further deepening of my personal artistic and vocal experimentation based on the idea of ​​theater as the undisputed temple of poetry, of  listening, of tremendous. Mario Lino Stancati

KABALIKA

01 -KABALIKA

New collaboration and project by The X and Mario Lino Stancati, multifaceted artist (Musician,Playwright, Vocalist, Actor and Director) .The song Urban Death Speach contains a kind of manifesto, showing the manner in which Mario manages to mix (withouut rap) his  voice, and The X that create electronic sounds and rhythms, transforming them into organic extraterrestrial organics. Making this even more nebulous and fluid, gets the industrial horror.Supernatural vocals, electronic music, that evokes psychedelic trips or at least psychoanalytic.
"Musique concrete" infected by industrial music, Vocals games, which are the hallmark by Mario  pervade the
sonds of enigmatics caricatures.Eclectic and twisted ambitions are summed up well in the song whose synth, such as spray paint, create suspense on a creative and experimental sound.

Urban Death Speak - The X - Mario Lino Stancati

Vortex by The X and Mario Lino Stancati is representative of the Post Dark Punk. Rock pollution from sinister connotations. Vortex can create the atmopheres more disturbing (more claustrophobic than Gothic) by leveraging to the two musicians of valuable technical and intellectual level. Coining a completely original style on the border between rock, electronic,new punk.Ranging in the states of alienatione through psychodrama immersed in sinister violents.The epileptic violent atmospheres discharges Vortex underlying long stretches of daily gray. The obsessive and relentless rhythm, the voice of Stancati ungainly that seems to crumble in a slow death in the rubble of a cataclysm.
Professionalism and ideology converge towards a half that is anything but 'entertainment.

Vortex - The X - Mario Lino Stancati

VOXIGENA is, above all else, a sincere and heartfelt bow, a small act of reverence, for that mysterious ethereal force, invisible and majestic, who dwells in us and entertains us all along: the voice. Weak oxygen, fluctuating between glowing concepts and unique deliriums, inflates the imaginary and symbolic erection of what, as, breath by breath, we were convinced and have much fun calling "life". In other words, VOXIGENA represents an experimental attempt aimed, in the first place, to seek more and different possibilities of use of the vocal practice, designed and dropped within a purely electronic sound context. The four compositions presented here, in fact, are intimately linked by a thin common thread which results in the use of the voice as the main source of tensions, suggestions and aural evocations.

Specifically, in "Kabalika", there is the voice filling and saturating a nervous carpet of electronic exchanges and swirling rhythmic textures, endeavored not as virtuous executive instrument of dynamics and developments (musical and otherwise), but as an exemplary source of vibration and sound frequencies to eccentrically (re)develop and on which to intervene, in a concrete and decisive manner, using disparate tools and related digital processes, for the most part, audio effects.

"Gola d'aria" is distinguished, however, by the use of sounds originating only from the voice of the multifaceted performer Maria Todaro, here here called to offer her vocal apparatus so that it is put to the test by trying itself in broad performance radious from blown to whisper, from high-pitched to lament, from tears to gasp, from declaimed to silent. Subsequently, through a deep digital re-elaboration, to the angelic and melodic instrument, the resonant power of the voice is transformed into thunder, lightning, wind, waterfall, pebbles crumbling, rammed steel, electric shock, ferrous mechanism, rusty plunger, metal grinding and other bizarre mimicry of the genre. In short, baroque pantheism voice at full power.

Unlike the first two songs, in "Hierophonia" the focus was on the mix of ambient and electronic sound recordings, using the rich and valuable sound archive kindly provided by the young creators of "The Sound of Kythera (Soky)", interesting cultural project that took place in the island of Kythira (Greece). Inimitable echoes of earthly nature, audible presence of creation, voice testimonies of ancient sacred traditions, meet and embrace with abrasive atmospheres, furious impacts, obscene noises and real acoustic scratches, thus creating, through the unifying power of the sound, an unprecedented fusion of worlds which, until a moment before, seemed opposite and irreconcilable.

"Dark Crystal Chamber" finally comes from an important collaboration with Paolo "The Voices" Ferrante, careful scholar, passionate teacher of "other" vocal techniques and daring vocal performer who has worked for years to investigate and practice, without compromises and awry academic fears , the extreme and paradoxical aspect of voice, emphasizing especially the dark, cavernous, rough, violent, ruthless side. Courage and artistic effort, this, which results in an extremely subjective executive approach, characterized by a large technical-expressive thickness. Moving to the limit of our own vocal abilities, touching the opposite ends of the voice, overturning the boundaries, disregarding the barriers: the dark becomes crystal, and vice versa.

                                                                        Mario Lino Stancati  

Artwork by: Pietro D’ambrosio

04 - DARK CRYSTAL CHAMBER (feat. Paolo The Voices Ferrante)

03 - HIEROPHONIA (feat. The Sound Of Kythera)

02 - GOLA D'ARIA (feat. Maria Todaro)

Mario Lino Stancati: Composition, voice, electric devices, mixing and mastering;
Mattia Biondi: Montaggio Invisibile
Immagini tratte da:
- "Dementia" - John Parker;
- "Dick Tracy" - William Berke.

Video: www.youtube.com/watch?v=O946af4qM1Q 
AudioVisual Archive: www.studiololaps.com/audiovisual-archive.html
Studiolo Laps ___SLV008___ 
www.studiololaps.com
https://studiololaps.bandcamp.com/track/ausweg

Ringraziamo Fintan O'Brien per le registrazioni ambientali tratte dal suo ricco archivio sonoro: www.soundcloud.com/fintanobrien

SLV008 - Produzione Studiolo Laps 2017
www.studiololaps.com

AUSWEG

A fragmented collage of instrumental sketches in a futuristic experimental played in a naive anarchist style. Dystopia also if different, continues the mood on obscure dictates of previous Vortex and Urban Death Speak. Electronic inserts and mechanical rhythms ready to explode with electricity to assorted sound effects, that in some points lapping apocalyptic tones.The X and Mario Lino Stancati combine their characteristic sound matt colors, unsettling and obsessive to a orgy of digital noise and a scratchy guitar riffs. The ductile singing by Stancati towing of the song, makes use of dramatic dark shades noir and purely emotional phrasing, until it became a voice screaming with vocals sound assaults of violent post-punk tension. Lyric of the song comes from the "Breviary of chaos" by Albert Caraco,French philosopher, author of the 900 so damned fierce and ruthless. Representative of a " Dark Nihilism " focuses on transience, tragedy and chaos in which modern man lives.

STAY BRUTAL 2022

LGPROGETTO

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