[ENGLISH Version Below]
Organizzatrice di suoni, Johann Merrich si occupa di ricerca e sperimentazione elettronica. I suoi progetti in solo ed ensemble – presentati a Santarcangelo Festival (2018) e alla Biennale D’Arte di Venezia (Padiglione Francia, 2017) – sono stati accolti come opening da artisti quali Zu, Teho Teardo, Mouse on Mars, Roedelius ed Evan Parker. Direttore artistico della netlabel electronicgirls, dal 2018  fa parte assieme a eeviac de L’Impero della Luce, duo dedicato alle sonorità dei campi elettromagnetici. Nel 2019 ha pubblicato per Arcana Edizioni il libro “Breve storia della musica elettronica e delle sue protagoniste”. A partire dal mese di maggio 2019, propone per musicaelettronica.it una nuova visione della storia della musica elettronica.
---
EN
Sound organizer, Johann Merrich is dedicating her life to electronic experimentation and research. Her collective projects have been presented in the framework of festival such as Santarcangelo Festival (2018), Venice Biennale (French Pavilion, 2017) while her solo shows warmed the stage before concerts of many established artists (Zu, Teho Teardo, Mouse on Mars, Roedelius, Evan Parker…). Artistic director of electronicgirls, from 2018 she’s part of L’Impero della Luce, experimental music duo formed with eeviac and dedicated to electromagnetic sounds. In 2019 she published her second book on history of electronic music for Arcana Edizioni, Rome

---

DISCOGRAPHY 
2002 - Hm?, "A lady in alabama" (with Genecyst) 
2003 - Hm?, "Anything is conductable" (with Genecyst) 
2008 - Johann Merrich, "USSR Vs Paradise (in six movements)" (www.otouv.org) 
2009 - Johann Merrich, "FRICADELIQUE! (how to be a flower-power nihilist)  on www.clinicalarchives.spyw.com 
           - Johann Merrich's Hyperion in "Clinical Anthology 2006-2009"   on www.clinicalarchives.spyw.com 
2010 -  Johann Merrich's Mato Grosso Mourning Glory In "n-o-r-mal II"  on http://justnotnormal.wordpress.com/
2011 -  Johann Merrich's Energieundvandlung in "Electronicgirls Vol. 1" http://www.electronicgirls.org/wp/
2012 - Johann Merrich's DXme in "Electronicgirls Crossing the Line" http://www.electronicgirls.org/wp/
2012 - Johann Merrich, "7 Tone-Floats for a Self Destruction"  on http://www.electronicgirls.org/wp/
2014 - Johann Merrich "Feeling like a Dalek" in Electronicgirls Vol. 2

Independent Cassette Label.  Drone, Dark Ambient, Power Electronics, Electronic & More

Flute player. Interpreter and improviser.

Music found while researching for SheerPluck - Database of Contemporary Guitar Music

Experimental musician
Classical and electric guitarsist

Archaeological Records is a publishing house and record label inspired by music archaeology.

What is music archaeology? What 'music' has never been recorded?
Ancient music is poorly catalogued and remains largely unknown, but with research these forgotten forms, ancient melodies and instruments can be re-imagined and reborn. ‘Archaeological record’ is a term used in archaeology to denote all archaeological evidence. It includes the physical remains of past human activities as well as contemporary artefacts.  
 
AR is a project based on the belief that research into new and existing archaeological records can be analysed and theorised in new ways. This re-evaluation will be examined by researchers and sound designers, musicians and audio explorers who will develop ideas of unheard territories and uncharted channels, creating the 'new' from the 'ancient'.  
 
AR will focus on the history of music and the apparently unknowable.  
 
Inspiration for AR also comes from timeless sound experiences. For example, consider a natural cave and its acoustic environment, a bouche d’ombre with its eau verticalle and its stillness. The cave is in a state of continuous transformation yet its primary characteristics remain the same throughout the millennia. 
 
Early sound sources still in use also provide endless inspiration. The human voice or animal 'voices', their skins reappropriated into drums or their bones hollowed into wind instruments. Certain stones that sing when beaten and others sculpted and carefully positioned that make the wind sing their songs.  
 
For AR, exploring the history of sound is a mission beyond time, through ineffable dimensions. A mission that requires original observation and thought which will document and define 'archaeological sound'.  
According to the International Study Group of Music Archaeology’s “Meaning and Goals” :  
“... ultimately what was played in ancient times must remain in the dark of the past, and much fantasy is needed by modern musicians to imagine how melodies and rhythms may have been composed. Strictly speaking, only the sound of the instruments can be revived - these are the possibilities and limits of Music Archaeology.”
Determined to find new possibilities, AR supports projects that look at (and stress) the elasticity of the epistemological limits described by ISGMA: projects curated by researchers and artists together. Believing that the blurring of the genres is the most desirable approach when planning art projects inspired by science (or vice versa).

Silvia Cignoli is following