During the third phase, the monk returns to the temple and is locked up by his disciples in an underground crypt, where he spends the last days in deep meditation (nyūjō) in the lotus position, and breathing through a small bamboo tube connected to the outside. The monk rings a bell; when the disciples, from the outside, no longer hear the sound, they will know that the body of the ascetic has exhaled the last breath.
________________________________________________________________________
The term 即身仏 [sokushinbutsu] (lit. "Buddha in his own body") refers to a particular Buddhist religious ritual, practiced from the 12th century until the early 1900s by various Japanese monks who, through a long and painful mental, physical and food preparation, which culminated in death, voluntarily predisposed their body to a process of self-mummification. The path of self-mummification in life through ascetism follows precise phases, lasting a thousand or more days each.

SOKUSHINBUTSU PROJECT tries to create a sonic synthesis of the suggestions that this extreme ritual evokes inside both musicians. Every single song is made with synthesizers, samplers, voices and magnetic tapes.

1. 出羽三山 [Dewasanzan] / Holy Mountains. The first phase of the journey involves the monk going to the Sacred Mountains of Dewasanzan, and here he practices a series of mortifications on himself over a period of several years. The ascetic progressively eliminates the basic foods of the Japanese diet: cereals, meat, cooked fruits and vegetables.

2. 木喰 [Mokujiki-gyō] / Tree-eating. In the second phase, the monk begins to practice a fast called mokujiki-gyō (lit. "eating trees / wood") because it involves the intake of bark, chestnuts, acorns, pine needles and, sometimes, crystal or stones. Near the end of this phase, the monk also begins to take a toxic tea based on a poisonous plant, the sap of which was used to lacquer the ceramics.

3. 入定 [Nyūjō] / Deep meditation. During the third phase, the monk returns to the temple and is locked up by his disciples in an underground crypt, where he spends the last days in deep meditation (nyūjō) in the lotus position, and breathing through a small bamboo tube connected to the outside. The monk rings a bell; when the disciples, from the outside, no longer hear the sound, they will know that the body of the ascetic has exhaled the last breath.

4. 即身仏 [Sokushinbutsu] / Self-mummification. After other thousand days, the disciples open the crypt. If the body is intact, the ascetic has become a mummy. Then the monks perfume him with incense, dress him with rich sacred vestments and enclose him in a tabernacle. Placed on an altar, he will be exposed to the sight of the faithful on important religious and social occasions. He is a sokushinbutsu, an Enlightened one in one's living body. The ascetic has managed to realize the opposition, against all reason, to the natural destiny of mankind.

https://cardinium.com/product/ior-tk-xviiicdr/

即身仏

03. 入定 [Nyūjō] / Deep Meditation

即身仏 [Sokushinbutsu] / Self-Mummification

After other thousand days, the disciples open the crypt. If the body is intact, the ascetic has become a mummy. Then the monks perfume him with incense, dress him with rich sacred vestments and enclose him in a tabernacle. Placed on an altar, he will be exposed to the sight of the faithful on important religious and social occasions. He is a sokushinbutsu, an Enlightened one in one's living body. The ascetic has managed to realize the opposition, against all reason, to the natural destiny of mankind.

________________________________________________________________________
The term 即身仏 [sokushinbutsu] (lit. "Buddha in his own body") refers to a particular Buddhist religious ritual, practiced from the 12th century until the early 1900s by various Japanese monks who, through a long and painful mental, physical and food preparation, which culminated in death, voluntarily predisposed their body to a process of self-mummification. The path of self-mummification in life through ascetism follows precise phases, lasting a thousand or more days each.

SOKUSHINBUTSU PROJECT tries to create a sonic synthesis of the suggestions that this extreme ritual evokes inside both musicians. Every single song is made with synthesizers, samplers, voices and magnetic tapes.

1. 出羽三山 [Dewasanzan] / Holy Mountains. The first phase of the journey involves the monk going to the Sacred Mountains of Dewasanzan, and here he practices a series of mortifications on himself over a period of several years. The ascetic progressively eliminates the basic foods of the Japanese diet: cereals, meat, cooked fruits and vegetables.

2. 木喰 [Mokujiki-gyō] / Tree-eating. In the second phase, the monk begins to practice a fast called mokujiki-gyō (lit. "eating trees / wood") because it involves the intake of bark, chestnuts, acorns, pine needles and, sometimes, crystal or stones. Near the end of this phase, the monk also begins to take a toxic tea based on a poisonous plant, the sap of which was used to lacquer the ceramics.

3. 入定 [Nyūjō] / Deep meditation. During the third phase, the monk returns to the temple and is locked up by his disciples in an underground crypt, where he spends the last days in deep meditation (nyūjō) in the lotus position, and breathing through a small bamboo tube connected to the outside. The monk rings a bell; when the disciples, from the outside, no longer hear the sound, they will know that the body of the ascetic has exhaled the last breath.

4. 即身仏 [Sokushinbutsu] / Self-mummification. After other thousand days, the disciples open the crypt. If the body is intact, the ascetic has become a mummy. Then the monks perfume him with incense, dress him with rich sacred vestments and enclose him in a tabernacle. Placed on an altar, he will be exposed to the sight of the faithful on important religious and social occasions. He is a sokushinbutsu, an Enlightened one in one's living body. The ascetic has managed to realize the opposition, against all reason, to the natural destiny of mankind.

https://cardinium.com/product/ior-tk-xviiicdr/

04. 即身仏 [Sokushinbutsu] / Self-Mummification

KRISTU (EP)
1. Kristu
2. Secondo Kristu
3. Mantratlantico

https://cardinium.com/product/ior-tk-xxiicdr/

Kristu (EP)

03. Mantratlantico

Countryside 

Many yōkai might appear by a shrine or small shelter in a lonely forest, but also might come right down to a farmhouse or a field or a bridge in town. Many of these yōkai assume animal forms and all of them are forces of nature, metaphors for the mysteries of the natural world, that make their presence known to the humans who would try to control it.
_________________________________________________
THE YŌKAI CODEX

Since ancient times Japan has been a place where religion and mysticism have strongly penetrated the life of men, enough to link the very birth of the country to divine intervention. The history of the supernatural guides the historical-cultural evolution of Japan, and it’s the product of the imagination and beliefs of women and men.

It is said that there are 8 million gods in Japan. Spirits that live on mountains and in streams, as well as in plants and rocks. Heavenly, infernal deities, or residing at home. Natural deities, related to the elements, to atmospheric phenomena, as well as spirits related to animals or even to objects.

The word yōkai is composed of two characters - 妖 e 怪 – of which the first, yō, refers to something that attracts, enchants, and can bewitch, while the second, kai, has the meaning of apparition, mystery. The original meaning of yōkai conveys a sense of mystery combined with fear, something that both attracts and terrifies, and that applies to everything that goes beyond the normality of events and enters the kingdom of the strange, the wonderful, the mysterious, the miraculous. In every period of Japanese history the presence of these monsters, spirits or demons has been interpreted differently…

https://cardinium.com/product/ior-tk-xxivcdr/

The Yōkai Codex

03. Countryside

Home

These domestic (but undomesticated) creatures may be some of the most frightening of all yōkai, because they share with us the places we think of as our own, the places we feel safer. These are intimate yōkai. They remind us that we are never actually alone and never completely in control.
_________________________________________________
THE YŌKAI CODEX

Since ancient times Japan has been a place where religion and mysticism have strongly penetrated the life of men, enough to link the very birth of the country to divine intervention. The history of the supernatural guides the historical-cultural evolution of Japan, and it’s the product of the imagination and beliefs of women and men.

It is said that there are 8 million gods in Japan. Spirits that live on mountains and in streams, as well as in plants and rocks. Heavenly, infernal deities, or residing at home. Natural deities, related to the elements, to atmospheric phenomena, as well as spirits related to animals or even to objects.

The word yōkai is composed of two characters - 妖 e 怪 – of which the first, yō, refers to something that attracts, enchants, and can bewitch, while the second, kai, has the meaning of apparition, mystery. The original meaning of yōkai conveys a sense of mystery combined with fear, something that both attracts and terrifies, and that applies to everything that goes beyond the normality of events and enters the kingdom of the strange, the wonderful, the mysterious, the miraculous. In every period of Japanese history the presence of these monsters, spirits or demons has been interpreted differently…

https://cardinium.com/product/ior-tk-xxivcdr/

05. Home

Former tennis player Andriano Panatta put his signature on 1976, his golden year. But the toughest match was still to be played, and it wasn’t about just tennis. After defeating Australia in the Davis Cup semifinal, Italy advanced to the final against Chile. In order to win the trophy, the team would have to travel to Santiago de Chile, where Augusto Pinochet’s rightwing dictatorship had been holding power with an iron fist since a military coup in 1973, during which the socialist president Salvador Allende committed suicide.
In Italy,  the secretaries of both the Communist and the Socialist parties declared that the national team should boycott the final, just as the Soviet team had done in the semifinal. Their opinions were echoed by the largest national newspapers.
In Rome, street walls were graffitied with insults directed at Pinochet, and even at Panatta, who was accused by some of agreeing to go to Chile just for the money. Eventually, the Italian Tennis Federation decided that the national team should go and play the final. Italy won the first two singles matches, with Panatta defeating Patricio Cornejo in straight sets. 
In the dressing room, while getting changed before playing the doubles, Panatta persuaded his partner Paolo Bertolucci to join him in putting on a red Fila tennis shirt instead of the azure one traditionally worn by Italian players. “Red was the color of the handkerchiefs that Chilean women wore as they marched in protest for the desaparecidos: their brothers, sons, and husbands who had been abducted by the regime,” Panatta said. “The red shirt was a provocation, a way to show dissent for what had happened in the country.” And to publicly, although silently, stand behind the color of egalitarianism.
That day, Panatta and Bertolucci triumphed in four sets against their Chilean opponents. It was the first — and to this day only — Davis Cup win by Italy. As for the red shirts, the Chilean military authorities demanded an explanation from the Italian federation, who hadn’t been informed by the players and therefore had nothing to say. 
Back in Italy, the victory contributed to an unprecedented uptick in enthusiasm for tennis. Thanks to Adriano Panatta and his mates, tennis in Italy finally ceased to be an activity enjoyed only by elites. It became, and remains, a sport for all: rich and poor, men and women, regardless of the color of their shirts.

[All sounds in this track are produced by Sokushinbutsu Project with synths, samplers and audio/video materials]

https://camembertelectrique.bandcamp.com/track/panattas

Politic Social Club

Panatta's

This piece was composed using exclusively the songs of 28 different species of birds, which live within the Regional Park of Montevecchia and the Curone Valley (Lombardy, ITALY). These field recordings were made in the early 2000s by Riccardo Deluca for a school project, with the help of the park's Volunteer Ecological Guards.
The bird species used in the recordings are listed below (in alphabetical order):

Accipiter gentilis
Accipiter nisus
Aegithalos caudatus
Alcedo implement
Asio otus
Athene noctua
Buteo buteo
Caprimulgus europaeus
Carduelis carduelis
Corvus cornix
Cuculus canorus
Cyanistes caeruleus
Dendrocopos major
Erithacus rubecula
Falco tinnunculus
Fringilla coelebs
Garrulus glandarius
Luscinia megarhynchos
Milvus migrans
Parus major
Phoenicurus phoenicurus
Picus viridis
Sitta europaea
Strix aluco
Sylvia atricapilla
Tachymarptis melba
Troglodytes troglodytes
Turdus merula

https://camembertelectrique.bandcamp.com/track/28-birds

Phonographies

28 Birds

5980, Patto Generazionale

Oh! Carol

Upside Down

My Sharona

Passion Flower

IDIL Music Award 2024, by Various Artists

https://unexplainedsoundsgroup.bandcamp.com/album/idil-music-award-2024

Published by ©Unexplained Sounds Group
Curated by Raffaele Pezzella
2024 - All rights reserved

[Photo by Stefano Sosio]

IDIL Music Award 2024

RadaComense

Dear listener,
Welcome to this unique musical journey, a celebration of the extraordinary influence of Dj Elettrodo and, specifically, of his radio program “Prove Tecniche di Trasmissione". With this compilation we immerse ourselves in the sound universe of artists who have had the honour of passing through his skilled hands and attentive ears.

Dj Elettrodo, an icon of the Roman music scene, is not only an extraordinary DJ but a passionate lover of new sounds. Historic host of the programs "Prove Tecniche di Trasmissione" and "Disorder" on Radio Onda Rossa, since 1992 he has entertained us with ever stimulating and cutting-edge selections in the electronic, gothic, industrial and noise panorama, making his programs not only milestones in the alternative radio scene but also a beacon for listeners and a home for international and, with particular emphasis, Italian underground artists.

Each track in this compilation tells a story; it is a testimony to the diversity and richness of the music scene that Dj Elettrodo helps to spread. The artists who have joined forces in this work are a fine example of how Elettrodo has always also been an instigator of collaboration and inspired the development of friendships.

This compilation is our homage to him, a tribute to his extraordinary work and dedication. We would like to thank him for his tireless commitment to supporting independent music by providing a platform for so many artists.

Radio Onda Rossa, since its birth in 1977, in order to remain free and independent, refuses money to broadcast advertising and press releases, supporting itself only with crowdfunding campaigns and subscription evenings. Those who work, collaborate and broadcast from 87.9 in streaming and on DAB do not receive any compensation but contribute with their sheer commitment to the survival of this radio station which "gives a voice to those who have no voice". We want it to live and to continue transmitting for a very long time to come.
All proceeds from this compilation will therefore be donated to Radio Onda Rossa.

To listen to DJ Elettrodo's broadcasts: www.ondarossa.info

Idea and Coordination: Cristiano Bocci
Cover photo: Marcho Gronge
Mastering: Cristiano Bocci at Small Circle Studio
Participation of Melania Bote in Lesbian Summer Rain
American Ghosts Part II contains samples from Sarah Davachi.

Heartfelt thanks to Lucia Caiazza (Loo(p)cy), Maja Maiore, Michael Bonaventure, Arianna Degni Lombardo, Fabio Masseti, Marcho Gronge, Luca Giuoco, Sara K.O. Fontana and Mafio 73 for their precious help. 

Released March 14, 2024

All rights reserved

Tribute to a Radio Legend

Di(re)zioni

SOKUSHINBUTSU PROJECT is an Italian esoteric ambient / post industrial duo, born in 2020 by Massimo Mascheroni (ODRZ) and Enrico Ponzoni.
The term 即身仏 [Sokushinbutsu] (lit. "Buddha in his own body") refers to a particular Buddhist ritual, practiced starting from the XIIth century by some Japanese monks who, through a long and painful mental, physical and food praparation, culminating in death, predisposed their bodies to a process of self-mummification.

Sokushinbutsu Project 即身仏

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