Dissonanz

Asymptote Versatile is the earliest surviving music by French composer Éliane Radigue. It precedes the French composer’s work with electronic means, first feedback and later the ARP synthesizer, which began in 1960s and ended around the turn of the century, when she retired from making electronic music. When Radigue wrote it, she had limited access to resources that would have enabled her to have it performed, so she filed it away until harpist Rhodri Davies took on the task to assemble some musicians to play it at the Huddersfield Music Festival in 2023, a full sixty years after she first conceived it. This CD is a recording of that performance.

Suprematist art, specially drawn in out-of-proportion size with the art concept, was a small standing mirror in which the materialistic men of a materialistic century could look at themselves…Suprematism presented to the Russian people the greatest aspects of non-objectivity in art and by so doing, open the way to a deeper understanding of art. Malevich was an intelligent in his stratagems for appealing to the plain sense of his utilitarian countrymen while not compromising his art doctrine.

Step by step throughout its development, he would present the squares and circles as inventions to aid the peasant in life and in the end, it would seem seekers for eternal life. It is most likely that in the first instances of the non-objective creations, Malevich was trying to slip something into the art of the Communist overseer…but when he always failed to gain the serious notice of the public servant, he finally revealed the real aim of his Being.

Through this struggle for acceptance of his art doctrine, Malevich showed a large amount of mordant wit in his politicking with the Communist art organizers. In this weak state of the intellectual elite in Russia, it proves the theory that the artist, no matter how true and dedicated he may be, is always a servant to the age in which he lives…but in Malevich’s example, he is also a leader of the future.

When a single individual comes to represent the symbol of an entire age, it is because he bears within himself the secrets and the future of that age. Malevich’s Suprematism is the most absolute development of modernist sensibility; and the servant of it. It is for this reason that Suprematism, from its beginning in 1913 to the late 1920s, was primarily a cultural force, at least in the mind of its originator.

As a result, in the tumult of early 20th-century Russia, Malevich emerged as a beacon of Suprematist art, challenging the conventions of representation with his fervent embrace of non-objectivity. His art doctrine, meticulously crafted, sought to liberate Russian art from the shackles of materialism, offering instead a portal to abstract realms. Malevich, a visionary of Russian art, navigated the turbulent waters of Modernism with unparalleled audacity, spearheading the avant-garde movement with his bold strokes and geometric forms.

As the cultural force of Suprematism swept through the intellectual elite, Malevich stood as its unwavering advocate, confronting the entrenched ideologies of his utilitarian countrymen. Through his artistic innovation, he transcended the confines of symbolism, weaving a tapestry of abstract expression that resonated with the future of art itself.

Of this, “Suprematism of the Spirit” is an iconic example. (see note below) Matter of fact, “Suprematism of the Spirit” represents the culmination of Malevich’s artistic journey within the Suprematist movement, where he sought to push the boundaries of abstraction and express the ineffable through geometric forms and color.

In the years following the creation of his seminal work “Black Square” in 1915, Malevich continued to refine his ideas and experiment with geometric abstraction. His Suprematist compositions became more complex, incorporating a variety of shapes, lines, and colors arranged in dynamic compositions.

By the time he painted “Suprematism of the Spirit,” likely in 1919 or 1920, Malevich had fully embraced Suprematism as a means of expressing the spiritual essence of art. The title itself suggests a departure from the purely material or formal concerns of earlier Suprematist works towards a deeper exploration of metaphysical themes.

“Suprematism of the Spirit” may feature a composition dominated by geometric shapes and bold colors, typical of Malevich’s Suprematist style. However, it also likely conveys a sense of transcendence and inner harmony, reflecting Malevich’s belief in the ability of art to evoke spiritual truths beyond the material world.

Maria Zerfall – Kopfkrieg 1985-1995 Electronic, Industrial

Maria Zerfall real name (1965-2023) Christine Weyhreter dead february 16, 2023

The German one-woman-solo-project MARIA ZERFALL started 1982 in Crailsheim named as ZERFALL. The year 1983 was beginning of MARIA ZERFALL and her private cassette distribution MUSIC TO TURN TO, based in Düsseldorf, Germany. The music was recorded and duplicated privately on a 4-track-tape-recorder, and given away to friends and people, who were interested in it. In 1986-1991 MZ often appeared in different projects, like AKTIVE STAGNATION, MARIA ZERFALL IN PHASE PERVERS, ZEROSE, and collaborated with other musicians like KONRAD KRAFT, ROMAN RÜTTEN, etc. From the years 1987 to 1989 MZ gave only three concerts, two in Düsseldorf and one in Nürnberg.

MZ has released a lot of recordings, mostly cassettes but also some on Vinyl and CD.

The industrial music sometimes sounding like Throbbing Gristle, German texts and dadaism - Maria Zerfall, a real German legend, the mighty Mistress of the old school of noise. It was the alter-ego solo project of 34 years old Christine Weyrether from Dusseldorf. LOKI FOUNDATION, Germany: "The tapes by her were some of the first noise stuff we have heard after the borders had been opened. We were very impressed! It's quite unique that such hard and morbid electronics were produced from the one-woman project". She started in 80th on the wings of punk invasion and personal non-compromising nihilism. She had played in a few bands before she finally released her own strange project. She was not interested in producing larger things like vinyl or concerts during this time. The result was in the six years of strong impulsive activity and in the 10 tape albums (1985-91), mostly of extremely limited edition and of great rarity nowadays. She just wished to make the music, nothing more: LOKI FOUNDATION: "Long time ago we've got the idea to ask her for an LP and Silvio from the German label Membrum Debile Propaganda had the same. Also he had the important contact with her - that is why this release is a mutual product of these two labels. And we were very surprised when she had agreed to do such thing. The recordings are taken from the several tapes. The best tracks between 1985 and 1991 were selected and we made the final mastering. She was happy and we too. I think the most part of the materials to be much more intense then the material from the most of newcomer noise projects: I don't think that she would like to make the new material now. But maybe there will be some other re-releases by he MDP label or the others. "Als ware nichts gewessen" presented the collection of 13 deadly shining relic experiments in the veil of urban-raw-electro-industrial sound and noise released in a home studio bunker of MZ.

Filled with the strained urban aesthetics mechanic-industrial destruction of cult THROBBING GRISTLE early years with absolutely sounding in her works: "Kopfmord", "Knochen-brecher", "Totenstille", "Als ware nichts gewesen", "Nazi jazz". Like a ghost of Fasbinder spirit of post-war Germany Maria Zerfall have arose - mechanic Maria from Fritz Lang "Metropolis", the archaic Goddess of her personal cults, the ruthless destructive messenger of the sonic Armageddon - ashes to ashes, sound to sound, devastation to devastation: claustrophobia to claustrophobia. The industrial mantras, rough springs of low bass, perforate static ultra-noises and amplitude vibrations, monotonous droning eclipses, chaotic naked distressing echoes, sting poison groans of mysterious signal, larynx wheezing from reflections of the steel death, decadence of depressed machines. Combined with the lonely monotonous monologues in German it seems it looks like a dying whale cry, like a German military disco in the Gas Camera of Europe, like a war - no taboo, no limit, no mercy!..