For the release of Exorcizando Eiciunt Daemonia, the new Static of Masses album, we have teamed up with Plainview Texas based independent label Doomsday’s Today Record’s sub label Negative Demonic Frequency. We will have CDs, a limited number of cassettes, as well as downloads available. Intended release date – October 31st.
For a taste of what’s on the new album, check out this Soundcloud link.
Two samples from the forthcoming album “Exorcizando Eiciunt Daemonia” are available to listen on Soundcloud.
2 tracks from our forthcoming album release this fall. These two tracks represent contrasting elements of our new album. Penance is one of the more vocal and somewhat beat oriented pieces while Cried In Heaven’s Arms represents some of the more experimental soundscape type tracks.
All Music and Merch on the Bandcamp page is on sale. We are trying to fund CDs for the new album.
Working on Album artwork, anticipating a fall release. More updates coming soon.
This week’s track is “The Gate” from the album “Apocalyptic Metaphors”.
It is inspired by and uses as a base audio source, the introductory scenes from one of the “Cube” films. I believe “Cube 2”, but can’t really remember. The piece symbolically represents the gate of the bottomless pit from Revelation 9. The harsh discomfort of this piece is intended to represent the effects of the release of Apollyon and his demons into the world.
Evolution of Noises
Russolo’s “The Art of Noise”
may have been an unknowing manifesto for what became Industrial music. Much happened in the world of music between 1913 and the late 60’s. Here we now stand almost 20 years into the new century and the evolution of what was pioneered 35, 40, 50 plus years ago by the likes of Throbbing Gristle, Tangerine Dream, Stockhausen, Cage, Z’ev, Coil, Skinny Puppy, Rice etc. etc. has ultimately become “…dripping with boredom stemming from familiarity…” to borrow from Russulo’s writing. It seems to me, the audiences have become content with the same tired old oontz oontz, 303 bass, metallic percussion, distorted voice etc. that was fresh all those years ago. Where do we go from here as composers with all of our fancy technology? Any attempts to go way off the chart are met with complete lack of interest. What is next for “Experimental” music besides everything that has already been done? I love TG and SP and all of the great pioneering efforts of SPK and Lustmord, Merzbow, and Test Dept. However, It has become stagnant and it is time to evolve. I don’t know the answers. I have re-read “The Art of Noise” and it has inspired this line of thinking and I want myself and other composers and listeners to take Russolo’s challenge into the next decade and hear what we can come up with.
- Greg Watkins – 08, July, 2019