◢◢◢◢◢◢ ARTWORK NOTES ◣◣◣◣◣◣
Original high resolution artwork included.
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◢◢◢◢◢◢ TITLE: "THE CHAPEL" ◣◣◣◣◣◣

◢ TELE.S.THERION:
Scores, enharmonic electric bass, silence. | with K11: Shortwave radio receivers, high-frequencies distorsions, metaphonic chants.

This conceptual album is composed by six stereophonic audio recordings, designed to be performed, simultaneously, in a site specific acousmonium, a multi dimnensional sound diffusion system, to create a penetrable projection area, specificaly arranged with a view to spatialised polyphony, to your personal mysteric experience of immersion in sound. To use this concept album as an acousmatic device for expanding the ordinary possibilities of the private listening, it is suggests to duplicate this audio cd and play two tracks at the same time, using simultaneously two differents players / hi-fi systems in random mode. Coinceived as acoustic audio installation for the Rothko Chapel.

Scores:
Black Painting I
Black Painting II
Black Painting III
Black Painting IV
Black Painting V
Black Painting VI

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◢◢◢◢◢◢ FORMAT ◣◣◣◣◣◣
Black on black printing / Digipack / CD-R
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◢◢◢◢◢◢ EDITION & MANUFACTURE ◣◣◣◣◣◣
Published by: Radical Matters - Editions / Label | 2011.
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◢◢◢◢◢◢ CATALOGUE ◣◣◣◣◣◣
RMCE017
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◢◢◢◢◢◢ LICENSED BY: ◣◣◣◣◣◣
Creative Commons - NC ND 3.0
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◢◢◢ SIMILAR ARTISTS: Abruptum, Hell Icon, Mözkörke, Emit, Amaka Hahina, Moëvöt, Profane Grace, Astral Lueur, Black Pentecost, Darkness Enshroud, Gnaw Their Tongues, Sunn O))), Grauen Pestanz, Summum, MZ.412, Havohej, Knálh-Kurruv-Kih, Flittering, Burial Hex, Utarm, Wolf Eyes, Zero Kama, Karlheinz Stockhausen, Hermann Nitsch, Edgar Varese, Antonio Russolo, Giacinto Scelsi, Luigi Russolo, Groupe de Recherche de Musique Concrète, AMM, Gruppo di Improvvisazione Nuova Consonanza, Spontaneous Music Ensemble, Musica Elettronica Viva, The Music Improvisation Company, Universe Zero, Groupe de Recherches Musicales, Scratch Orchestra, ONCE Group, following the non-musical aural path of early Sodom, Hellhammer, Beherit, Blasphemy, Von, Wormphlegm, Mordor, Senthil, Thergothon, Kranivm, etc...

◢◢◢ FILE UNDER: Experimental Black Metal, Black Ambient, Acousmatic Black Metal, Avant-Garde Black Metal, Dark Ambient, Ritual Ambient, Electroacoustic, Musique Concrete, Free Improvisation.

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◢◢◢ OFFICIAL WEB LINKS:

BANDCAMP: telestherion.bandcamp.com

YOUTUBE: www.youtube.com/user/TELESTHERION

RELEASE: telestherion.bandcamp.com/album/nekromantische-hexentvm-ta-megala-mysteria

DISCOGRAPHY: www.radicalmatters.com/radical.matters.cd.cdr.authors.asp?tp=1&f=all&a=62

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◢◢◢ BIOGRAPHY:

Active since 2007

In large ensemble with:
Lunurumh, Nick Didkovsky, Norman Westberg, Renè Lussier, Roger Turner, Eli Litwin, Massimiliano Viel, Reinhart Hammerschmidt, Kristian Cucchiara (Profanal), Dan Blacksberg, Franz Hautzinger, Stefano Corsi, Michel Doneda, Le Quan Ninh, Jason Van Gulick, Kasper T. Toeplitz, Antoine Chessex, Paolo Sanna, Wildness Perversion [Mortuary Drape].

Music for loudspeakers and audience:
based on atonal music and non-idiomatic improvisation principles, applied to a radical Black Metal approach, linked to authors such as Abruptum, Hellhammer, Bathory, Gnaw Their Tongues, Emit, Amaka Hahina, Moëvöt, Profane Grace, Astral Lueur, Black Pentecost, Darkness Enshroud, Sunn O))), Grauen Pestanz, Summum, Kranivm, Burial Hex, Flittering, Utarm, etc. Following the non-musical aural path of Beherit, Blasphemy, Von, Amaka Hahina, MZ.412, Havohej, and many more authors who moved from the borders of this sound paradigm.

Inspired by the Russolo‘s researches in his black Art of Noise; the sound spatialization studies of Karlheinz Stockhausen and his music theory; Edgar Varese‘s studies and his vision of “sound as living matter“, the non-objective and aniconic art of Tele.s.therion, is centered on polyphonic sound projections for immersive deep listening experiences, in order to unleash the auditory stimuli that allow the altering of cognitive-perceptual processes (pareidolia), to bring out imaginative and synaesthetic subconscious processes, the epopteia!

What we commonly know today as Black Metal, it’s just one of the possible forms available.

Tele.s.therion music program it’s based on the use of techniques and dynamics borrowed from musical genres such as Jazz and Rock, and thus from the practices of the radical primitive Blues that unites them, and that can be find ourselves in the original Black Metal music, introduced here as an interpretive key inside of a compositional and executive system linked to practices carried out by the fringes of classical, modern, non idiomatic, contemporary, and avant-garde music (with a special interest on the concrete and acousmatic process), sound art, improvised, atonal, black, dark and doom heavy metal, searching for the roots of the meaning of these terms, for their sonic phenomenas, their thought forms, before they became a music genre. What we commonly know today as black metal, it’s just one of the possible forms availabes.

It is necessary start to watch through the veil of this genre, with an upside down point of view, to discover its das unheimliche, to transgress the stereotopies and cliché, and design new possible forms whithin this musical dimension; to start a new auditory journey to the roots of Black Metal music.

The Black Metal's engineering its mutuated by its royal descent, which is derived from the practices developped in Punk and Thrash era, and it is distinguishable by a strong interest in the aesthetic theories, focusing on the physiological effects of special categories such as the sublime, which here become extra musical evocative suggestions, shock tactics, hard edged, transgressive and antiestablishment attitude, iconoclasm, etc. [...]

The TST compositional method, the sound matters was previously selected choosing the performers; the characters and the timbres of the sound bodies chosen for this acousmatic composition, are a unity with the personality of the author involved in the ensemble. Such as characters on the set of a movie, they play blind and alone, using a script and few essential indications. [...]

To keep this aspect of independence of each sound event, each author was called to perform himself, recording his own sessions separately, as a moment form, without knowing what the other authors involved will do. Each recording session, it's conceived and treated as a sort of whodunit, an event developed inside the "locked room mystery", a narrative approach conceptually transposed in sound art, where each detail it's a fondant clues of the acoustic scene, raw material that becomes a sound object per sé. [...]

T.S.T.

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