Si conferma, cosi, a parte le disposizioni legislative cui abbiamo precedentemente. Quasi tutti sono originari della capitale 22 su 24 con un crollo nelle rappresentanze dei centri provinciali analogo solo a quello che si verifica nella repubblica di Genova. Le famiglie milanesi che hanno un proprio rappresentante nell'Ordine sono 10; di queste, 4 hanno 2 cavalieri e 1 ne ha 4. Dalla Toscana medicea e poi lorenese provengono 51 cavalieri, 26 dei quali sono fiorentini e 12 senesi. I primi anni del dominio lorenese come gli ultimi della dinastia medicea devono aver convinto molte famiglie nobili fiorentine a prendere in qualche modo le distanze dallo Stato e a riattivare il canale gerosolimitano.
Le aristocrazie toscane si stanno statalizzando37 con la parziale e forse momentanea eccezione di quella fiorentina , Siena viene inglobata nelle strutture dello Stato Se a questi elementi aggiungiamo un calo demografico generalizzato, potremo in parte spiegarci la crisi della militanza nell'Ordine giovanni- ta verificatasi tra i sudditi del Granducato. Una novantina furono le famiglie milanesi che si estinsero tra e Anche questa nuova dislocazione trova fedele rispondenza nei Ruoli dell'Ordine di Malta.
Capitolo IV. Ed in fatti nelle lettere di nobilitazione sempre dichiara il Prencipe il merito, ed i servigij resi da colui che nobilita Anzi quella che espressamente dal Principe si concede non si ha in pregio, come cosa che addi-. Nel regno di Napoli, poi, principi, duchi, marche-. Nel momento in cui questi. A Piacenza il principe poteva dispensare il pretendente dal possesso di requisiti come la cittadinanza, il patrimonio e l'astensione dall'esercizio di arti vili da almeno 70 anni In sostanza, affermava la Lingua d'Italia, ad Udine non esisteva separazione di ceto e quindi i nobili cittadini non potevano essere ricevuti Accogliere i nobili udinesi nell'Ordine significava poi provocare.
Nella congerie di statuti, consuetudini, diverse accezioni di un termine da un luogo ad un altro, era piuttosto facile intrufolarsi nei ceti primari e sminuire l'onore delle famiglie nobili locali Onore che. Certo, vi erano diversi tipi di reintegrazione ai patriziati urbani, e non tutti sospetti agli occhi dell'Ordine di Malta. La reintegrazione propria, per i reggimentari di Frosinone, era.
Le famiglie nobili di Bitonto rivendicano continuamente il caratte-. Anche i sedili nobili della capitale rispolverarono nel i propri privilegi per rintuzzare le pretese della monarchia di poter procedere a nuove aggregazioni senza il loro consenso. Ma la risposta della Real Camera fu ferma nel rivendicare al principe. E la scelta dell'Ordine in difesa dei patriziati urbani non poteva essere che una scelta di campo obbligata. Nel il sedile Dominovi di Sorrento elegge come cassiere del locale ospedale il cavaliere Filippo Donurso Pochi esempi questi, e non certamente i soli, a testimoniare della persistenza di radici e di legami che la professione nell'Ordine non.
Capitolo V. La consonanza delle vicende dell'Ordine di S. Due momenti di svolta si possono individuare, a sancire una forte scansione cronologica, insieme ad altre date intermedie ma per questo non meno significative, del processo legislativo che l'Ordine mette in opera sulla importantissima e delicata materia delle ricezioni. Era tutta una produzione letteraria, tanto sterminata quanto a volte farraginosa e contraddit- toria, che confluiva e si solidificava all'interno degli statuti gerosolimitani. Non solo, ma, ammesso come non derogante il grande commercio di importazione e di esportazione, il cardinale introduce una ulteriore differenziazione tra il commercio esercitato sporadicamente e quello esercitato, invece, in maniera continuativa.
Nei riguardi di altre situazioni l'Ordine fu inflessibile sino a respingere le prove di famiglie, pur riconosciute nobili, nel cui albero genealogico fosse rimasta traccia di origini mercantili Mentre, dunque, le. Non mancarono mai, su questi aspetti, conflitti tra gli Stati e la Religione47, come non mancarono mai gli interessamenti dei principi. Giovanni Gierosolimitano. Spostiamoci in un'altra parte d'Italia, a Verona. La famiglia Carlot- ti ottenne nel il titolo marchionale col feudo di Riparbella dal granduca di Toscana Ferdinando II; la famiglia Fracastoro fu insignita nel dal duca di Mantova del titolo comitale, nel la famiglia Maffei fu decorata dal duca di Savoia del titolo di marchese; un ramo della famiglia Pindemonte ottenne nel dal duca di Mantova il titolo comitale; la famiglia Pompei, infine, si vide riconosciuta dall'imperatore Carlo V la cittadinanza milanese e poi dal duca Ferdinando Carlo quella mantovana, Enrico di Francia, da parte sua, le aveva concesso il privilegio di innestare il giglio nelle armi Francesco Villa, marchese di S.
Nel nel Magistrato ordinario di Milano sedevano, tra gli altri, il marchese Gerolamo Stampa, cavaliere di Calatrava e Giuseppe Fossa- no, cavaliere di Alcantara; tra i 60 decurioni, oltre al predetto Gerolamo Stampa, erano il conte Angelo Trivulzio, cavaliere di Santiago, il conte Francesco Panignola, cavaliere di Calatrava, il principe Trivulzio, insignito del collare dell'ordine del Toson d'oro Orazio e Camillo Borbone, fiorentini, furono camerieri segreti del granduca Ferdinando II da cui ottennero l'abito di S. Stefano e numerose commende di quell'ordine Giacomo per cui la sanguigna sua Croce hanno portata, e portano.
La corsa al servizio sotto le bandiere regie, una politica matrimo-. Le rendite agrarie dei siciliani duchi di Terranova tra e registrarono un incremento da 6. Alla nobilitazione si avvicinaro-. Un rapporto fatto di reciproche integrazioni e una simbiosi costante che si verifica nelle strategie familiari, tendono non solo a garantire comunque posizioni di forza laddove si esercita il potere, ma anche ad offrire un quadro unitario e corale a patrizi e baroni del proprio far parte di un ceto che, pur nelle multiformi direzioni del proprio impegno, si caratterizza per l'esercizio della pratica di governo In termini econo-.
Capitolo VI. A mo' di conclusione: la statalizzazione delle aristocrazie italiane. Difettosa si palesava, infatti, l'amministrazione delle commende, pochi cavalieri osservavano l'obbligo della residenza almeno quinquennale, ovunque venivano conculcati i diritti dell'Ordine, in ogni dove sorgevano liti provocate dalla trascuratezza dei commendatori assenteisti4. E questo obiettivo era Roma e la corte papale. Se tale fu il comportamento sempre seguito dalla Lingua, non per questo sulla questione dell'ingerenza papale non si registrarono spaccature e dissensi tra gli stessi cavalieri Erano, pertanto,.
Ma la politica praticata dalla corte pontificia ebbe risultati completamente opposti a quelli che si prefiggeva: i cavalieri commendatori. Ma era un principio, questo, che nel XVIII secolo veniva messo fortemente in discussione e dai cavalieri e dai sovrani stessi. Solo quando le aristocrazie furono militarmente depotenziate, quando lo Stato ebbe rafforzato i propri apparati, fu possibile per i monarchi portare a termine con successo il lungo processo di integrazione di quelle aristocrazie anche a costo di riconoscere, per quel che ci riguarda, la valenza politica, istituzionale ed ideologica della Religione: ma questo non poteva avvenire se non attraverso una statalizzazione dell'Ordine stesso.
L'allegazione scritta in quella occasione dal Solombrini24, articolata in vari punti, rimarca la natura religiosa dell'Ordine e rivendica, quindi, per le commende lo status di benefici ecclesiastici, i quali, per inciso, dal erano stati riservati ai soli regnicoli Ampi settori delle aristocrazie si stanno ora stringendo ai troni dai quali sperano in una protezione che, sebbene in prospettiva porti alla loro statalizzazione, ne permette, tuttavia, il mantenimento di quei peculiari strumenti, tra i quali un ruolo non indifferente rivestono le commende gerosolimitane, che garantiscono e sostanziano la loro supremazia sociale.
I cavalieri sabaudi, da parte loro, avrebbero anticipato la decisione della Lingua rinunciando subito ad occupare commende allocate in altri priorati Nell'agosto del si mosse il duca di Parma: egli aveva a cuore la sorte della Religione, ma si sarebbe comportato su quella importante questione alla stessa stregua degli altri principi italiani e, di conseguenza, non avrebbe accettato nelle commende parmensi cavalieri che non fossero suoi sudditi L'alleanza tra i cavalieri nazionali e i propri sovrani era ormai indissolubile e all'Ordine non restava altro da fare che tentare di salvare il salvabile.
Chi avrebbe salvaguardato, poi, i diritti acquisiti da quei cavalieri che erano entrati nell'Ordine prima della, per ora ipotizzata, separazione dei priorati e che sarebbero stati costretti ad abbandonare senza contropartita le commende di cui erano stati provvisti poste fuori della Toscana? Quei cavalieri avevano, dunque, ben colto il nocciolo della questione, ma niente potevano contro lo strapotere che derivava ai piemontesi e ai meridionali dalla loro consistenza numerica.
Il priore di Venezia si era preoccupato di non perdere le commende parmensi, modenesi e bolognesi e di recuperare quelle venete amministrate dal priorato di Lombardia D'altra parte i lombardi non si erano certamente staccati dagli altri italiani per unirsi con i piemontesi Ma i vantaggi derivanti dalla fine della comunione dovettero.
Cavalieri nazionali amministrano nel la maggior parte delle commende tab. E la contropartita. La mediazione dello Stato si presentava, pertanto, veramente esigua nei reggi-. Quelli che, dopo l'esame de'Documenti, verranno dal Tribunale Araldico riconosciuti e dichiarati essere d'una Famiglia antica e veramente nobile Una violenta polemica vide protagonisti nel il presidente del Tribunale Araldico di Milano, Paolo da Silva e. Diploma di. Prima di concludere su tale punto conviene considerare ora quale fosse il posto che nella legislazione appena esaminata era affidato all'Ordine di Malta.
I cavalieri di S. Ma, con la fine della comunione nella provvista delle commende della Lingua d'Italia, le monarchie registrarono un sostanziale successo a loro favore: il dinamismo sociale settecentesco, e il potenziamento degli apparati statali fecero il resto. Quel secolo, a detta di J. Ma era quella una concordia che sanciva di fatto la vittoria delle monarchie e degli apparati su ceti che con una lunga e tenace azione erano stati smilitarizzati, depotenziati e quindi costretti ad inserirsi nelle strutture e nelle istituzioni dello Stato.
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Provenza, Lingua di, n. Reggio Calabria, 92, n. Repetta, famiglia, n. Riccardi, famiglia, n. Ricci, famiglia, Richecourt D. Ricuperati, 28 n. Riparbella, Roccetta, priorato di, 1 50 n. Rocco, famiglia, n. Roma, 12 n. Rossi P. Trotzdem darf man bei der Proklamation eines neuen Menschen immer skeptisch sein, selbst wenn Phillips offenbar eine Art abfallvermeidenden Technik- und Menschenfreund vor Augen hat.
La voix au sens large, celle des humains aussi bien que celle des animaux. Dave Phillips utilise la voix universelle des animaux humains compris principalement. Une musique angoissante, terrifiante, oppressante, et puissante. Rispetto al passato Phillips utilizza maggiormente i timbri degli strumenti classici, immersi in strati di elletronica ed effetti di ogni tipo che continuano a definire un mondo angosciante e sinistro.
Homo Animalis is unrelentingly dark, foreboding, and at times grim and malevolent sound art. Electrics are mixed on equal footing with the primal, with the human voice, and undefined animalistic roars, with deep guttural growling and terrifying screeching to create an unsettling edgy uncomfortable landscape.
Lots of inhuman sounds appear and disappear throughout the pieces, meshed together in an unwieldy web of voluminous sound. Phillips periodically utilise sound art strategies, like abrupt cuts to move to a different passage, and ramps in volume, frequency or density as a passageway into a new world.
He seems particularly interested in the abrupt as a mechanism to shock. This not the kind of soundscape you sink into. Spread over two discs, and composed and recorded between and , some of the material has been previously released on limited cassette runs, though there is a significant amount that has never seen the light of day.
The mood alters somewhat across the work, with surprising moments of humour; even cartoon ghoulishness hidden amongst the grim and disturbing soundscapes. This is the first release on their new label, Schimpfluch Associates. In the liner notes Phillips thanks folks as diverse as Philip K Dick and Francisco Lopez and espouses his concept of humanimal theory which he suggests reduces the over reliance on the intellect and shifts towards the emotional.
Though to be fair there feels like a disconnect between those concepts and the sounds he exhibits here, with periodic screaming and guttural animalistic growling, high pitches dense roars of both instrumentation and electronics, it feels like the sounds are in the power of some kind of ancient primordial force. There are moments here, particularly the piece Kelelwar b, which uses treated sounds of an Indonesian flying fox, which with its wall of sound screeching over 15 endless minutes, is truly disturbing. To be fair though on all the pieces here the human, the animal, the environment and the musical are all given equal footing in the mix.
Homo Animalis is compelling but demanding, a muscular form of doom sound art, offering an ill defined menace, a cacophony of sounds and worlds colliding into a new primal world that sonically speaking is nothing short of terrifying. Transhumanismus nennt man das. In einem manifestartigen Stichwortkatalog macht er im Booklet seiner neuen 2CD klar, warum er seine Ideen dennoch als progressiv begreift.
Militarismus und organisierte Religion sind ebenso Teil davon wie Konkurrenzdenken und ein kompensatorischer Hedonismus, der mit Lust und Begehren so wenig zu tun hat wie eine philosophische Publikationsindustrie mit echter intellektueller Neugier. Trotz ihrer z. Ein zentrales Leitmotiv allerdings ist das animalische Quieken und Grunzen, das stellenweise mit noch menschlich wirkenden Stimmen verschmilzt und — v. Diese Vagheit, die Unbeantwortbarkeit der Frage, wie ernst oder doch eher schwarzhumorig Phillips hier zur Sache geht und wieviel Optimismus hinter der Idee seines homo animalis steckt, bewahrt das Konzept davor, trotz der deutlichen Worte ins Didaktische zu kippen.
Das klingt dann wie eine Kakophonie aus eingebildeten? Aber: dies ist eine Doppel-CD. Das zweite sogar Auch ganz ohne den visuellen Teil der Performance. In kleinen Dosen oder als Selbstversuch…. Take it or leave it! Its ten tracks, running for minutes and alluding to his concept of humanimalism, work up a succession of highly volatile sound environments: tempestuous, soaked with drama, prone at any time to cutting away, changing tack or firing out eardrum puncturing percussive punches. Much of the material sounds like heavily processed field recordings, layered into complex, roiling cacophonies, exuding an elemental power.
But even in moments of apparent relief the tension rarely let's up. Die Philosophie dahinter ist schon ein wenig krude, klar. Aber ein wenig dystopische Wettern und Grollen, Kreischen und Mahlen ist ab und zu ja doch ganz unterhaltsam. Zbirka tez o tem, kako deluje oz. In to stori malodane v senci, potuhnjeno, brez izrecnih avant pretenzij, s fokusom, usmerjenim drugam.
Composed between and the work on this album first appeared on limited edition cassettes and these have been remastered for this double disc release. I have heard a lot better over the years, but Dave does utilise his knowledge of sonic architecture to good effect, where everything feels full and rounded; which is imperative to releases of this nature.
Once again an array of bestial noises reek havoc amongst a crushing pit of sub-level sound; and the outcome is akin to the soundtrack to the end of the world. The only downside to this release is that there is very little variation overall. However, this leads to a solid continuity, if you have the patience to see this devilish collection of nightmares right through to its grisly conclusion.
Dank rumblings, breathing underwater, something heavy, dark and murky… growls. Screams… terror in the jungle. Something animal. A clamourous racket of fear…the full horror still remains to be revealed. All hell breaks loose at around the minute mark — only halfway into the opening track on disc one.
Phillips finally verbalises, speaking in a blank, cavernous monotone. Recorded over a number of years, this whopping set, which spans two discs and almost minutes pulls together reworkings of earlier material released in tiny batches on cassette only, with new batteries of sound to forge an immense single work that revolves around this philosophical thematic.
Snorts and squeals, a slammed piano note, spirits swirling in a vortex… tortured souls descend into a porcine underworld. Disc 2 offers no respite as crashing bangs — brutal percussion, gunfire, explosions — ricochet around a sea of squalling distortion. A dolorous piano resonates low amidst a sea of pink noise. Teaming, squawking, bird cries from hell, howling and screaming into the void.
A thump, a crunching hum of distortion… and then the swell of noise and torture resumes, building inexorably to a thick, dense wall of overloading distortion. And then follows silence. It proves to be of little comfort. Che strano personaggio, Dave Phillips. Di madre francese e padre inglese, ma nato e residente a Zurigo, in Svizzera. Tira avanti il carretto da circa 25 anni. Giunge quindi il doppio cd Homo Animalis, prima uscita della neonata Schimpfluch Associates. Non lasciamoci ingannare dal titolo: nessun rimando della razza umana a clave, caverne o cose simili, piuttosto, come sottolinea lo stesso artista, il concept Humanimal ha a che fare con una sorta di uomo primordiale e puro, libero da ogni legame materiale e religioso, orientato verso pensieri e concezioni spirituali, sociali e ambientali.
Nei giorni scorsi, per problemi vari, ho dovuto assumere antibiotici, antidolorifici e antidepressivi. More music by Dave Phillips, of whom we recently reviewed a collaborative work with Aspec t Vital Weekly Here the former founding member of Fear Of God returns with another double CD, now for Schimpfluch, of which he has been a member since the early 90s. The works here, some minutes in total, of works recorded from to two are from Some of these pieces were released on limited edition cassettes, but all of these pieces have been reworked extensively. Phillips, you may be aware of this, is an activist when it comes to animal rights and in much of his music he uses sounds from animals, and how we treat them, that we should not eat them, etc, but as with many of the politically inspired musicians, you can wonder how many minds are turned.
No matter how fine the causes are, mind you. The music by Phillips is one that I quite enjoy. All of this can end abruptly and move over into something of near silence, or to be replaced by something of an equally heavy weight noise, but of an altogether different nature. Here we have somebody who has thought about the whole genre of noise and how to keep things of interest.
Now, listening to ten pieces with a total length of minutes is quite a demanding thing and probably not one that one should do all to easily. However if you take this CD one at a time, and perhaps control the volume a bit, then you too might see the beauty of this noise release. But his solo work on At the Heart of It All comes down from all of the aggression of the hardcore scene for a collage of found sounds out of the Amazon. The two 35 minute tracks on this release were collected by Phillips during his time near Chuallacocha, where he let his microphones record whatever sounds of the wildlife surrounded him.
Simply organized and layered, At the Heart of It All features no manipulation of the various calls, and instead allows them to blend together for a cacophony of natural harmony. The disc comes with a short essay from Phillips on the transformative nature of this experience as well, explaining the reasoning behind the title. In a way, these tend to form a wall of shrill cries throughout both tracks, allowing Phillips to layer calls of monkeys and frogs in the background to add variation.
These moments are staggered throughout the album, and most likely not intentional; it is the audience who pulls the meaning out of insect sounds, and these are great experiences. But his noise is great! It is a form of in which sounds are loud, but short, in which he uses acoustic objects, such as balloons, and field recordings being amplified loudly and, oh, carefully used silence.
Noise that is composed! Phillips is very active when it comes to playing live and recording and much of his works end up on the most obscure compilations, online releases and some never are released. Phillips always, or so it seems, mails out a piece, no matter how short. Luckily Phillips is the man to keep a copy of these pieces and here we have minutes of his music, which can as easily serve as introduction to his work. A fine combination of musique concrete montage techniques - stereo changing, cut up, reversing, silencing etc - with a curious form of sound poetry when it comes to doing a cover of a Rudimentary Peni song, even total silence when it called for, and true all out noise.
If you still never heard his work, this is best introduction there is. Some other tracks are a mere thirty seconds long, brief blasts of horrific sound-collage, violent sexual release exploding into skull-destroying harsh noise, sounds of a busy motorway overlaid with creepy electronic mewling sounds, bestial grunts colliding with chunks of concrete sound. Disc two is filled with more surreal sonic horror, offering up frightening percussive blasts, monstrous murky noisescapes and bits of blackened ambience, discordant evil piano drifting over backwards voices and breathing sounds, and disgusting symphonies of gastro-intestinal violence.
Elsewhere, ghostly chiming melodies that seem to be drifting off of some mysterious numbers channel fade into view, Phillips disappears into long sprawling passages of psychedelic electronic squelch, and we even get some of his chopped-up grindcore abstractions.
The first disc also features a couple of videos from Phillips and experimental animation artist Gina Kamentsky. The opening few tracks appear to have lots of samples of animals all sounding in varying degrees of distress. The tracks seem reasonably short throughout and as soon I get into one it finishes. My breath is being taken away by the sheer power and immensity of the music. If you have dipped a toe or two into D.
Makes perfect sense as one of D. Mix together contemporary orchestral music consisting mostly of strings, with the usual ingredients of Schimpfluch related projects. Demented human sounds, throat fucking, dogs, animals, abrupt noise bursts, perfection of timing and tension. Possibly became instantly my favorite Dave Phillips album!
Nice presentation by Second Sleep label. My speakers are about to blow. Heart-rate is irregular. I panic. I enter… The first words that appeared in mind. The pig, the child, the woman. The man behind the curtain playing in distorted motion. The observer of the downfall of values. Nothing too obvious, cheaply offensive. Premature or simple. He prepares the listener for the inevitable while hinting as to why it is all happening and perhaps who is responsible. That cold and beautiful weekend in Bristol, that all who attended till this day regard as one of the best festivals, I was blown to pieces.
His work comes across as extremely personal and multi-faceted as well as sinister, slightly child-like horror story. At the same time it seems he is one of the last few who in depth questions human essence from almost Jungian point and questions political values of the masses as well as global effect it has. The catharsis of sound layers is a downfall of values. The greatness of the sonic activist. This record made me sick. Like a Stockholm effect - I am in Love.
I felt the need to live and crawl over the fears and deadly notions of not getting out of a trap of subconscious paralysis. This record is a master of intimidation and flashbacks. The natural balance and the pollution that money structures bring the world. I think that Dave is also a great storyteller, however we hate the word, still — he is a visionary. I consciously decided not to go in depth through the texts presented with the record while writing this.
I just listened the LP over and over and over again. This concussion of field recordings, noise, ritualistic drones and echoes that remind of a bad psychotropic trip. Giving in to the experience of the record, I came out with words: pressure, woods just after sunset, shit piles in abandoned wooden houses. Dead animals, extinction, a man behind my back wheel, death.
Wooden floor, blood, flies, sunrise, heat wave, vomit, stinks. Walking, fastly, running. Freeze frame, acknowledgment of a dead end, panic, death. Rot, noise, stink, darkness, branches, thick forest, branches. Dry land, rape, sweat, stink, old skin. Hand-stamped and numbered edition of Transparent Vinyl - please note these vinyl copies are slightly warped, this does not seem to affect playback. A regular collaborator with Schimpfluch Gruppe, Dave has consistently explored the outer limits since his work as Fear Of God in the late 80s. Here he instigates two provocative pieces of cut-up, animalistic exhortations and visceral psycho-acoustics, wrenching all manner of burping, squawking, wretching, masticated sonics from his body and secreting them in a hocked-up glob of electro-acoustic process.
The 2nd side is particularly unhinged: a rapid-fire battery of scatted hollers arranged in a razing hail of deviant behaviour. First of ten planned singles by this Swiss oddball with long ties to the Schimpfluch Group. Voice clatter that sounds lke a rugby team throwing up in a trench and enjoying the heck out of it. Yang coba kami perkenalkan kali ini adalah praktik field-recording, suatu hal yang masih jarang dilakukan di Indonesia dan masih sedikit pula sound-artist lokal yang bergerak di bidang tersebut. Mayoritas aktivitas field-recording di Indonesia dilakukan masih untuk tujuan sains.
Ya, kali ini kami akan mencoba mengeskpos rekaman field-recording berjudul Suara Alam Indonesia karya seniman Swiss bernama Dave Phillips. Suara Alam Indonesia dirilis di internet pada bulan Feburari Field-recording album ini tidak menggunakan sama sekali teknik manipulasi suara, dan hanya menggunakan mikrofon binaural serta sebuah minidisc-recorder. Dave Phillips sendiri adalah seorang seniman audio asal Swiss yang telah aktif sejak tahun Ia telah aktif lebih dari 25 tahun, memiliki rilisan dan telah bermain sebanyak pertunjukan di 38 negara.
Selain aktif di musik, Dave juga aktif sebagai gig organizer dan radio DJ. I have no idea what the video part of this performance was like assuming there was one regarding the title , but the audible part pretty much works by itself. Presented in a strong and powerful recording by Jim Haynes, the piece starts rather restrained. Asthmatic breath sounds and heartthrobs, an occasional whispering now and then, inhering a somehow uneasy feeling overall. Even without the video component, a thoroughly absorbing excursion not only for Schimpfluch afficionados and a genuine piece of Phillips in all of its obnoxious beauty.
Late last year I was posting about some record or another and several loyal readers began speaking very highly of Dave Phillips. At that time I had never heard of him yet after those comments I started to see his name everywhere. Phillips was one of the co-founders of hardcore group, Fear of God, and after their break up has been producing solo work under his own name.
Phillips has moved along way from any semblance of hardcore on?. This is a record that is all about embracing field recordings and sound collage in a, quite frankly, terrifying way. Much seems to have been written about the third track which to me sounds like a light bondage session with Satan. Yet bum slapping, demonic grunting and female moaning aside, the manner in which he fuses multiple layered bird calls, static, a loud and persistent heart beat, a swarm of flies, street sounds, accordion, doom piano and other goodies will have your average filed recording nut in fits of pleasure.
Throughout the layers of breathy vocals, groaning, minimal piano keys, swirling rumbles seemingly beamed in from the ether, cracking sounds, accordian, dissonant tones, birdsong and so on, an alarming amount of space and restraint is given to retaining an atmosphere that soaks on all from sombreness to something more distinctly menacing.
So much for my expectations. Those HCB boys have gone and done it again! Un suggerimento, prima di tutto. O, per lo meno, siate consapevoli del fatto che potrebbe turbare i vostri sonni per molti giorni a venire. Dieci tracce senza nome, per un disco ammaliante che — e il titolo enigmatico ci sta tutto — stimola la fantasia e i sensi, incuriosisce ed affascina, terrorizza e mette a disagio, mentre ci si continua a chiedere che cosa siano i suoni catturati nei solchi del cd.
Dodici minuti di sublime incubo luciferino. Impossibile resistere ad un disco del genere, emotivamente devastante. The music is beautifully composed in both senses of the word with subtle nuances that reward repeated, and close, listens. After the dissolution of Fear Of God, Phillips would go on to become involved with even more intense and visceral approaches to sound, leading him to the aktionist noise performance ensemble Schimpfluch-Gruppe.
The performances and recordings of Schimpfluch-Gruppe would be excruciating affairs, combining short blasts of brutal noise with transgressive bouts of vomit-and-blood play, these aktions on the surface of it confrontational and disturbing. Since then, Phillips has struck out with a series of solo recordings which follow a similar strategy, the latest of which,?
The ten tracks are based around field recordings that have been augmented with actual composed musical parts, like clusters of dark lower register piano that echo through recordings of rainfall and fields of mysterious clattering and clanging noises, Carpernter-esque synths, and distorted accordion drones and wisps of bowed cello strings that appear in between strange smooching and slapping sounds, a door being loudly shut a recurrent sound that reappears throughout the album , droning insectile buzz, nocturnal forest sounds, random laughter, deep gong-like reverberations, brutally loud crashing metal, heavy footsteps, and crushing walls of white noise.
Some of the most chilling moments on the album appear on the third and the final tracks: the former evolves into a disturbing soundscape of deep pitch-shifted beast-like groans and demonic grunting over the orgasmic moans and gasps of women that are looped over and over, a hallucinatory tangle of samples and grotesque voices that eventually morphs into an eerie chamber-string drone, later joined by recordings of owls, random backwards sounds run through trippy FX, and an sad, melancholic accordion melody; the last track is dark piano-led minimalism and Lustmordian blackness, the sounds all subtly warped and tweaked, creating an off-center, nightmarish feel that goes on for more than ten minutes.
From beginning to end, this is an intense and agitated performance that has long empty fields of quiet torn apart by sudden eruptions of unsettling noise. Full color digipack packaging. They are mistaken, and should check their history lessons. I just heard too much of that, I guess, in those grey forgotten days. Sudden Infant for instance, very recently, and last year Dave Phillips. The former member of Fear Of God, a grindcore band, is connected to the Schimpfluch gang these days and his concert was a carefully constructed set of noise and silence. I may not have cared for the political overtones of his work, his noise went down pretty well.
Normally I would complain about the length of such a release, but somehow it all seems to make sense here. The shortest piece is just over one minute, the longest just under sixteen. And it seems to be without the sort of noise those earlier mentioned youngsters care about: Phillips uses loops, piano, concrete sounds, very little sound effects, so all the sounds are as a dry as possible, cello, accordion and voice material sighing, moaning, crying and the sounds of torture the human body.
Like I said, nothing conservative noise here, but quite a depressing album altogether. Low bass sound here and there, obscured field recordings and such like make up the backbone, and top these repeating sound fragments of instruments and voices. Bleak, dark stuff. Not much information on the cover to go by, but depression has not be made that clear in quite some time. A creepy record, not for the weak of heart and mind. Those performances involved a mattress wired up with numerous contact microphones and the two engaging in rather violent sex, with the noises of the groaning mattress tossed back at the audience through explosive amplification.
He was also the man responsible for that Dead Peni record released in on Blossoming Noise, and was the drummer for Fear Of God, which was like the Swiss equivalent to Napalm Death way back when. A few brief interludes of softened white noise dappled with various forest-dwelling field recordings opens the album, snapping to a halt with a 12 minute uncomfortable track that seems to recycle one of those sexually explicit performances. Phillips clips and cuts the moans of a woman rapt in sexual ecstasy, matching that with a male voice which has been pitch shifted way down to a demonic growl.
The despair to which this album speaks is of his own making. At the conclusion of this track, Phillips turns to his accordion which sways between two dour notes and a series of nocturnal recordings. There is nothing pretty about this album, and it is really quite a depressing opus when you get right down to it. Un grand disque de la zone grise.
This item by Dave Phillips is a true puzzler, though we should expect nothing less from a release called? Further clues may also be found from the back catalogue of Tochnit Aleph in Berlin, perhaps. Dave Phillips was the bass player for that band, although one suspects that with his disposition and ideas, he contributed a lot more than jut playing the bass. You will probably start to feel queasy and sickened around the middle of track three, with consists of 12 minutes of orgasmic groaning voices, slowed down and mangled in various hideous ways, and overlaid in nasty loops like coiled serpents.
Worrying stuff; and rest assured, there is plenty worse to come on this album of dissonant, dark and deeply disturbing compositions. The label informs us that these ten compositions were centred around field recordings, with the addition of cello, piano, accordion and voices. Ultimately, this was intended as a purgative process, but there can be no doubt that in the performance of these mental excavations, a large amount of psychic spew and filth has also ended up on the grooves of this record. Only those who feel capable of processing such morbidity and unhappiness should proceed with purchase of?
A male voice, pitchshifted to a demonic other, laughs and grunts amid spiralling snippets of a female voice caught somewhere between orgasm and pain. Toda una experiencia. Seemingly, with such propaganda, the expectation to be disappointed is present, however, as soon as the needle hit the wax I was quivering with glee behind an angular sofa, like a child trying to escape the Daleks that peer through the saturated tube of their television.
I throw down the record onto the deck and allow a random side to begin. This element of luck, this gamble of fate seemed appropriate as things begin. Sound fades in with a crawling vocal cacophony that sings with zombie voices from eroded floorboards. Images from brutal Italian horror movies spring to mind — fittingly full of heat-haze paralysis and the appropriate fascist patronage — colouring the extremities of ones mind.
There is an ominous growl that leads the listener to an untimely death, as if into the slow digestive tract of some aged, haggard and malicious prey. The long movements fill minimal sides of vinyl allowing for a brooding intensity to take hold - effecting one with an intoxicating madness. As you flip the record, sounds thicken and vocals creep from the other side making the black slab immaterial, almost as a harbinger of some unhinged evil. I shall leave this brief as the record is simple, minimal and devastating, taking a course of individual bleak interpretation.
- Origine du nom de famille BORNE (Oeuvres courtes) (French Edition)!
- Études sur Plotin?
- Frühkindlicher Autismus. Symptome, Ursachen und Therapien (German Edition).
- Link ipervirtuali:?
Experience your own immorality. Come over to the dark side. As much as I enjoy listening to anything Dave Phillips produces, a large portion of his solo material literally makes me nauesous. From there, Phillips moved into even more challenging and provocative sounds with the actionist-influenced Schimpfluch-Gruppe project, who combined the transgressive investigations of the Viennese Aktionists Otto Muhl, Hermann Nitsch, etc.
The recorded works that Phillips has been releasing in the past two decades has built upon that aesthetic, with a particular emphasis on the nauseating effects of contorting his vocals into gagging, heaving, retching sounds that are contrasted with stretches of near silence. On this latest LP-only release on RRRecords, Phillips combines his harsh aktionist performance with an undercurrent of manipulated drones and unnerving orchestral noise for a different, but still disturbing approach. The first side is a seriously ominous slab of plodding, minimalist dirge, where a single kick-drum pulse pounds away in slow motion while a deep metallic drone clangs and dissipates over top, creating something that sounds like a segment of a Khanate song pulled apart and stripped to just a spartan, spacious throb and looped over and over into a monotonous metronome pulse.
The record comes in a provocative jacket design that uses artwork from a UK print of the Philip K. Dick book Man in the High Castle, and is limited to copies…. This is my first album by the man. I do have some Dave Phillips work on various compilations, but this is the only full length album I own. A fact that will need some rectification. I got this one from my good friend Steve Underwood who once or twice a year mails me a parcel of stuff….. The sleeve gives nothing away. The whole package is one of non information. Swastikas replace the stars of the states of America on the front and that of the stars on the flag of the European Union on the reverse.
Nice touch, but probably damaging sales in Germany and Israel. Could be neither. It is sometimes a worry getting stuff audio by a mainly visual artist. No plan B needed, from needle to the record I was hooked. Attentively hooked. The start is of whispers and a struck bass guitar amplified - it reminded me of something. It was very Einsturzende ish maybe really early Laibach, the whispering turns in to chattering, in to straining, in to struggling.
Passionate multi-layering of the voice. Very unsettling and in beautiful stereo. Side 2 and the bass is replaced for some time by the sound of to these ears a muted klaxon and the voices have become scratched and bowed violin strings. It all builds in to an orchestral sized cacophony, the voices return as does the amplified bass thump. It all ends on a beautiful lock groove. I may have met Dave Phillips. I am uncertain. Berlin gig cancelled. One of the visitors that paid a visit to the flat was an English man who I think was Dave Phillips - we went for breakfast in a cafe and met people who could have been part of Column One.
By this time the tour was in week two and time was spent being in an alcoholic fug. Beer was cheaper than water over there back then. Hunt and find then buy this album. What can I say? Dave obsessively inspected, dissected, turned around and reassembled the sonic remains of our old band FEAR OF GOD and thus created a bastard noise version of it that leaves me breathless still.
Order the expanded vinyl version 58 songs, made only, on colored vinyl or the CD version Digipack, 61 songs plus a short but lovely bonus Video from Absurd Records greetings to Marcelo! As you can see, the minimalistic but affectionately done LP comes with insert not visible on the photos , stamped innersleeve and sticker. Amazingly, very little remains of the original 16 year old! I go so far as to call F. Kill the lop who questions. Die ersten 50 Kopien enthalten einen huebschen Aufnaeher.
Um keine Zweifel aufkommen zu lassen: Diese Platte ist etwas vom brutalsten, was je gehoert wurde! Dave hat alte Fear Of God Aufnahmen zerschnippelt und wieder zusammengebaut ohne fremde Elemente beizumengen und es dabei fertiggebracht, einen voellig eigenstaendigen Sound zu entwickeln, der einfach alles niederwalzt in seiner dichte und Gehetztheit. Meisterlich, wahrlich! Man, what a deranged record. And still, it is one of the most enjoyable. The whole of The Hermeneutics of Fear of God has the structure of one of those cut and paste deals. The songs 61 total rarely go over the forty second mark and follow no pattern nor formula.
Instead, we are treated to slices of noise,- some of it industrial, some of it hardcore punk and a little bit of metal — blocks of music that start and stop without ever peaking. It is almost as if there is no beginning, middle nor end. A few of the songs seem to be mere repetitions of a drum beat or of a simple bang. Some too brief to even establish a beat are two-to-three second snippets repeated half a dozen times. The voice, guttural and robotic, is filtered and distorted and resembles a bestial bark. There is a bit of feedback here and there.
The only strings seem to come from a bass, which is tremendously massive and quite saturated. At parts it seems like songs are about to kick off but as hastily as they start they dissolve. It is all quite puzzling and very effective. This makes me feel like a rebel cyborg. It makes me think of an art project with a lateral side of social commentary. Dave Phillips was part of the Swiss hardcore band Fear of God. After their break up Phillips took the noise electronic side, basically creating extreme experimental music.
He has cut and pasted song parts and has come out with this album. The result is surprisingly fluent. On this solo cut Dave Phillips of Fear of God has sent me spiralling back to those cider and weed fuelled days with this relentless, grinding cacophony of great old school grindcore. There are elements of all the above mentioned bands here especially Amebix but what this made me think of more was that this is what Godflesh would have sounded like if Justin Broadrick had retained his love of speed when he left Napalm Death.
Fast, short, crusty, noisy, industrial, grind…something for everyone! As its title suggest this is made up purely of field recordings taken from various jungle areas in and around Thailand, over a four year period. Here he takes his keen ear for unusual and often very odd sounds and takes us on a heady, strange, natural ambient sonic journey. Taking in insect, gibbon, bullfrog and canine sounds, along with waterfalls, heatseettling and the general rich and often very bizarre sounds of the jungle.
Though there is no editing or manipulation going on here the sequence of the tracks is very clever going from slightly jarring, hallucinogenic and highly atmospheric. As expected with this type of thing the tracks are often very short going from a few seconds up to minute plus, but it all seems to flow well making an enjoyable and consistent whole.
Really standing up as a great and strange piece of ambience in its own right. The disk comes in a nice oversized full colour folder with liner notes by Mr Phillips and pictures from his trips around Thailand. This will certainly appeal beyond the normal field recording market, been of interest to ambient and noise fans too. Es ist Blossoming Noise hoch anzurechnen, dass all die verstreuten Tracks von des Schimpfluch-Mitglieds auf einem Album vorliegen.
Original auf allerhand obskuren Compilations oder mini-CDs erschienen, umfassen die 31 Stuecke die ganze Palette Phillipscher Unreinheiten: Telefonzwitter und Radiounfaelle, stures Insektengefiedel und robustes Hundegebell, Schreikraempfe, Affengeheul, Klowasser und extrem mitreissende Stille. Oft collagiert Phillips, zerschneidet und setzt zusammen. Aber er schreit, keucht und wuergt dabei sein Organ ueber die Nahtstellen, dass so manchem von uns die Mandeln platzen wuerden. Mund spricht hier einzig Mund, nicht ein Wort, kein Stottern kommen heraus.
Schade, dass da so was Altbackenes steht. Weiss doch jeder, dass Gerechtigkeit uns alle ueberlebt, seit Jahrtausenden mit uns morpht und sogar jedem von uns zu Gute kommen kann. Aal drauf, wichtiges Album. Then fires it all like a sound roller coaster ride into your mind. The thing that Mr Philips does that makes this all work and disturbing to such an extent is sudden left or right turns in sound, it will be dwelling in feast files sickly drone, before making you literal jump out of you skin by loud vomiting like sound.
It really almost becomes too much in the end, as the sounds seem to drill deeper into your mind, you start to worry for your sanity. Sooo behind. This is a collection of curses, yes, but more so it is a collection of odds and ends from the decade starting ; the Swiss Phillips has previously worked as Fear of God and Ohne, dabbling in the dark arts of thrash and black metal, perfecting his vision as instigative noise sculptor. Perhaps not. However, unlike Wiese who suffocates your ears with a relentless torrent of finely-diced inertia, Phillips utilizes blank space by inserting substantial gaps between cuts, creating the impression of relief - though merely the impression, as one instead fills these spaces with anxiety and apprehension in anticipation of the coming transmission.
This is instead headphone music in that such forum allows no sensual distraction, but so is a secluded space recommended in which to insulate the music from foreign intruders. Mastered by Tom Smith, the recordings enjoy immaculate engineering to heighten effect, allowing no room to escape. CD comes in a digipak with brilliant, beautiful cover art that reminds me of the days when people used to make cover art. This is a very strange collection of compositions that can only be recommended for truly adventurous listeners. This CD collects 31 pieces recorded by Dave Phillips from to Most folks will find these recordings to be strange, alienated, and unlistenable.
Phillips records music from a purely artistic perspective. Instead of trying to come up with songs that might appeal to the average listener, he records sounds and ideas that are purely abstract and bizarre. A Collection of Curses is easily one of the oddest albums we have heard in some time. Most folks will be turned off by this CD… while a very small subsection of the listening population will be intrigued. We fall into the latter category. A Collection Of Curses is crammed full of phlegmatic gurgles, porcine grunts and the sounds of numerous intimate bodily functions - celebrations of animal nature, both theirs and ours.
These are punctuated by eviscerating shards of noise and banshee screams that are equal to anything issued recently by Wolf Eyes and their ilk. The results are often unsettling, putting the spooks up anyone who listens too intently. It is the presence of the organic suffocating amidst the synthetic wreckage that truly makes the skin crawl. Regardless, what really makes it all work for me is the impeccable overall sonic design and attention to detail which is where things like field recordings of insects come in, though never in an obvious way.
There is of course a lot of noise music out there, but there is only a handful people that do something that is really interesting. Merzbow provides the real thing, R. Yau and Dave Phillips do their own thing in the field of noise music, and they do a more than excellent job. He blends together field recording, real noise, insect recordings, cracked electro acoustic sound and voice together in a truely fascinating manner. Not always loud, in fact hardly loud, but in a true collage style: moments of sheer silence are cut off with segments of cracking objects, insect sounds, speeding up tapes, people shouting on the street and then perhaps, perhaps, silence again.
Twenty-three tracks in total, all with a super-long title, but this is best experienced as one long track. The dramatic impact is so much greater. A very very clever release, and establishes once again Phillips as a master of noise. The Swiss Aktionist Dave Phillips has always had a knack for silence. But his use of still moments has nothing in common with the specialized hush of Bernhard Gunter, as a startling rupture always follows.
I jumped out of my chair about 20 times over the 70 odd minute length. The most terrifying moments were those long stretches of silence or stable activity. I began to anticipate these unbearable bursts. I never really could anticipate it though, which unnerved me further. As a result, by the end I was mentally exhausted. Remember that part in Apocalypse now when the tiger jumps out from the jungle?
All of this could come across as a cheap ploy by Phillips to make up for the fact his music fails to unnerve in any meaningful way. Ultimately the frights only make up a small portion. Everything is so minutely and expertly composed that through the exhaustion a real joy can be garnered from the mastery of the composition. Sometimes, when I see a film, or hear an album, the experience is so intense and affecting that I essentially refuse to experience it again — probably for fear of spoiling that initial exposure. Such is the case with 6 by Dave Phillips. This audience discomfort is something Phillips is well-versed in, being a member of Schimpfluch Gruppe — a loose collective with five prominent artists at its core: Rudolf Eb.
The group is synonymous with work that challenges its audience, with the Vienna Aktionists often considered a potent influence.
Orrore e Terrore: (A)Teologia Gotica
If you were concise, you could perhaps point to two defining aspects of his recordings: the utilisation of field recordings as drone, and of silence to create tension. These sounds will sometimes be left as is, allowing the listener to hear the wealth of life that their species is intent on destroying; or, at other times, processed and layered into overwhelming walls of noise, magnifying that wealth, its right to existence, and its damage.
Both artists create tracks where long, brooding silences are interrupted by short, jarring blasts of sound. They convey a genuine sense of dread: the listener knows they can expect another jolt, but is never prepared for it when it arrives. This is not casual listening. The CD comes in an unusually-sized, gatefold wallet adorned with a painting by Eb.
The album contains twenty-three tracks, ranging in length from a mere five seconds, to nearly thirteen-and-a-half minutes. All bar the last track, which is titled in memory of Omar Tomasoni are stark and finger-pointing, at both the reader and the wider world. This sense of militant confrontation carries through to the uncompromising sounds within. Indeed, the album begins with almost a direct challenge to the listener.
Where Affluence Is The Rule, The Main Threat Is The Loss Of Desire, is a short track, seconds in length; however, we are forced to endure seconds of silence before Phillips makes any move — a jarring thud, followed by the sound of swarming bees. The unease and confusion this beginning causes, leading to an inevitable checking of volume controls and play buttons, sets the tone for the rest of the ride. The longer passages just as quickly establish patterns as they do collapse inwards. Feeding out of and into these are tortuous sections of sturm und silence, with the listener held fast by interruptions of pounding bangs, pained shouts, and earsplitting shrieks.
I Curse You And All Your Kind is fifty-five seconds of distorted screaming over a ripping noise loop, the closest the album gets to power electronics. Phillips also uses unpleasant tones and frequencies, like the dissonant trumpet strangulations in The Self Some Imagine Surviving Death Is A Phantom Even In Life — yes, you could throw po-faced pretentiousness at some of the titles, but their weight is genuine and carried through; something like The Self… brutally works the brain.
However, the bulk of 6 thrives on the use of quiet and silence to heighten its dominant atmosphere of tension, unease, and dread.
Regardless of the actual politics held, where explicitly political imagery, ideas, and opinions are deployed in industrial music or power electronics, they tend to originate from strong right-wing positions; however, Phillips is not alone in his difference. Whilst not exactly numerous, there are several projects who use distinctly leftist or anarcho themes. Perhaps the most obvious contemporary — although recently quiet — example is the Swedish power electronics project, Barrikad, whose releases contain regular visual and textual references to violent struggle.
Mourmansk , from France, are another project with equally volatile emissions. Clearly, there are not a lot of examples of power electronics or industrial acts who use leftist or traditional anarcho themes — they are far outnumbered by those who use themes from the right; but despite this apparent gulf, they share similar tools and methods of attack.
One of his sets at the Extreme Rituals: A Schimpfluch Carnival festival, in Bristol, , ended with him plunging the venue into darkness and unleashing a thundering quadrophonic recording that surrounded the audience, whilst several women ran through the crowd, screaming. It was an incredibly intense experience. Phillips is interesting, because he combines an approach that is quite often cerebral, bordering on electroacoustics, with other elements that are much more base or physical: sounds of nature, sounds of the body, sounds of violence.
Trolling deliberately inflammatory postings on social media, forums, etc. It is most often associated with base nastiness and cruelty: deliberate, blunt attacks to upset and attack the target in any way. However, there is also the explicitly politicised intent of some trolling: publicly mocking political figures or organisations, or tricking them into social media faux pas, often deploying intelligence and cunning. The work of satirist Chris Morris, for example, would fit in here quite happily. His announcement of the death of politician Michael Heseltine who was quite alive live on radio, or his sacking for filling a Radio Bristol studio with helium during a news bulletin, seem to be acts reminiscent of a power electronics outlook.
However, both forms remain trolling, and power electronics, whatever the approach, remains power electronics; and this raises a certain, shared quality: both are somewhat impervious to any meaningful criticism. This perhaps highlights one of the issues with power electronics as an antagonistic device: it is indeed largely ignored. Any provocations and resulting conflicts largely happen within the scene itself. However, like noise in general, his recorded output remains the main medium of transmission, creating a varied, solid body of work that is rigorous, coherent, and consistent.
But the Vienna Aktionists are probably a much more apt comparison, though one the Schimpfluch people are quick to downplay. This kind of breathing certainly plays a large part in Eb. These techniques and the use of space they entail there are a lot of various breathing patterns for certain kinds of meditation that involve long stretches of holding your breath, counting to , etc. The combination of this and the absurdity of Dada and the Aktionists, and the bodily extremity of the Aktionists bring you a bit closer to the Schimpfluch way. With Phillips, beyond the general extremity, psychological tension, induced states, punk, anti-art, etc.
It makes perfect sense. This was partially comic, partially referencing the arbitrariness of the sounds themselves and partially lazy? At any rate, yes, there are some familiar sounds happening. The Schimpfluch folk are probably responsible for the popularization of the retch sound you mention. Dave Phillips began his musical career when he was 17, co-founding the hardcore extremists Fear of God in In performances punctuated with short sharp bursts of noise, the Schimpfluch-Gruppe quite literally plays with vomit, blood, and all of the fluids from bodily orifices.
If it sounds juvenile, it is; but both Phillips and Eb. Along with the official Schimpfluch-Gruppe actions, Phillips has performed with Sudden Infant, PK, and Ohne which had received a considerable amount of acclaim with their Mego debut of electrocutionist musique concrete. The noise comes quite sporadically, and when it does, Phillips clobbers you over the head with volatile sick tones and splattered distortion; but the bulk of IIIII waits with a tense silence until wooden hammerings, demonic growlings, blister-pricked ruptures, and unsettling screams shatter the empty spaces.
Even if you have a stomach strong enough for R. Par for the course for Phillips, whose previous work with Fear Of God and the actionist activists Gruppe Schimpfluch is ideal for anyone who needs to be forcibly evicted from their apartment in a hurry. If the idea of the disc is to antagonise, it deserves five stars; if, though, the name of the game is enjoyment - ah, how old-fashioned that sounds - you might want to steer clear, unless your idea of enjoyment is having someone vomit in your ear before shooting you in the head with a nail gun.
Field recordings of chirping birds and rushing water go to my head, my heart, deeper still. But what differentiates them besides for the moment in time, the rhythm of the moment? Well in the case of the latest by Dave Phillips, expect the unexpected as the lilting ambience turns to something of a distorted torture chamber in a flippant, immediate way. Creating a collage of pasted parts that conceal just enough and expose the way say, The Gerogerigegege Juntaro Yamanouchi does, with quirky voice like interactive happenings and other dramatics.
Phillips crams 99, mostly micro-short, pieces into one full-on minute adventure - some tracks are pauses with pure silence, others are tape rewinds and silly sounds ala Woody Woodpecker. Maybe this is for the birds after all. Entgegen vieler seiner vorangehenden Releases tritt Phillips als Artist hier ebenso zurueck und findet seine Geraeusche nicht im oder am eigenen Leib.
Wildsaeue haben es ihm angetan, das piensende Ferkel ebenso wie der bloekende Keiler. Dave Phillips live, or Dave Phillips live and then edited? Are those mouth noises on turntable, or mouth noises and turntable, or both? Phillips might be the Alban Berg to Eb. Like his previous two full-lengths, this is beautiful and, I think, soulful experimental music, but experimental in the sense of testing or analyzing something, not hitting it with a hammer to see if it breaks.
The Bigfoot recording on Stomach Ache comes to mind sometimes. Also unlike Eb. Doch immer wieder, ohne jegliche Vorwarnung und ohne erkennbaren Rhythmus, versucht Phillips das stetig rollende Aussen im mal scheisswuetenden, mal angewitzelten Schrei um alles oder im Auswurf stehender, elender analoger Kotze zu brechen weniger aus Wut denn aus Hilfosigkeit oder beidem. Einfach ma so, mit dicker Wucht. Phillips bricht das beanstandete Schweigen untereinander letztendlich aber durch nichts.
Da das Ohr immer offen bleibt, kommen wir sowieso nicht umhin, die andern zu erfassen und notgedrungen kennenzulernen. Das Aussen und der Laerm werden bleiben, noch ziemlich lange und weiterhin uneins. Phillips leuchtet daher natuerlich nur kurz zwischendurch auf, es blendet aber betoerend gut. IIII is an unusually assembled collage from the Switzerland-based outsider environmentalist and sound artist Dave Phillips.
The CD comes in a linen sleeve in a set completed with an anti-meat and corporation screed. Faint movements, breathing or rustling are followed by a muffled gunshot, and then the bristling and purring of cicadas. Or an insistent electronic hiss, accompanied by a desultory amplified fumbling, grows into a louder pop and clack, and then lurches with a wild cry into an extreme squall of screaming, whooping, and electronic noise that cuts out after half a minute into near silence.
Elsewhere, there are odd semi-human snatches of crooning, or a split second of gulping sickness that overdrives into an acid white noise drone before dispersing among recordings of birds. Musik im Bereich des Genres Noise ist immer schwierig einzuordnen. Dahinter stecken Nathalie Dreier und Dave Phillips.