Multimedia Experimental Project
Released for WDGAF label on March 20, 2020
Marta NoOne – modular synthesizer, voice, sound fx programming & manipulations.
Ugo Vantini – electronic pad drums & percussions, loops, ambience, field recordings.
Recorded by Silent Chaos in 2016/2017 while wandering around Italy aimlessly, longing for some peace of mind and not finding it.
Mixed & mastered by Silent Chaos at Nyctophilia Studio, Scotland, at the end of 2019, start of 2020.
A suite in four movements for modular synthesizer, voice, field recordings, fx, loops and electronic pad drums.
Thanks to: Aleister Crowley, Mutable Instruments, Richard Devine, Tom Erbe
Released for Osclltr Records on April 23, 2018
Marta NoOne – modular synthesizer, voice, sound fx programming
Ugo Vantini – electronic pad drums & percussions, loops, ambience, field recordings
Recorded & Mixed by Silent Chaos
Produced by Silent Chaos
Cover album & Mastering by Osclltr Records
Osclltr Records 2018 – Berlin – Germany
Originally commissioned by Sound Festival for the 2020’s edition, it has been composed for an installation, to be played in loop on mobile devices, via the locative audio player Sonicmaps, by users who are located alongside the fountains outside Marischal College in Aberdeen. The work has been engineered to sound in a complementary manner with the water movements of the fountain.
Released for Toten Schwan Records in the compilation “Gli déi se ne sono andati, grazie per il vostro odio” on December 18, 2020
L’OSCURO OCEANO DELLO SPAZIO INFINITO
Marta NoOne – modular synthesizer, voice, sound fx programming
Ugo Vantini – electronic pad drums & percussions, loops, ambience, field recordings
Recorded, Mixed & Mastered by Silent Chaos, Nyctophilia Studio, Scotland
After two years since Unexplained Sounds Group released the “first annual report”, Raffaele Pezzella [SONOLOGYST] has been in touch with many musicians working on different projects, including some surveys focused on countries like Iran, Portugal, Russia, Germany, US, UK and so on. This third annual report, divided into 2 volumes, contains 229 tracks produced by more than 200 artists, coming from 40 countries. An intense experience he’s pleased and honoured to share, to highlight once again, the great effort of creativity and musical research bright people do around the world. It doesn’t pretend to be exhaustive, and in some ways, it could appear chaotic due to the lack of a stylistic or chronological order. Probably It’s like our life.
Released for Unexplained Sounds Group in the compilation Ocean of Sound on December 15, 2017
Marta NoOne – modular synthesizer, voice, sound fx programming
Ugo Vantini – electronic pad drums & percussions, loops, ambience, field recordings
Recorded & Mixed by Silent Chaos
Mastered by Sonologyst
The Silent Chaos music in “micro” is the first part of a double project (micro-MACRO) where is narrated the evocation of archetypes buried in the collective unconscious, shown in a new intellectually (the manner of Plotinus) emotional light.
The use of electronic tools, such as modular synthesizer, sequencer and battery pad that controls loops and samples, offers to Silent Chaos a wide sound palette, from which Silent Chaos draw to define the personal stylistic framework.
Each composition determines a special universe in which crop up echoes of concrete music, choirs, tribal sounds, noise and ambient, in sound experiments that envelop and surprise even those not accustomed to listening to these genres.
Released for Eclectic Productions on May 27, 2017
Marta NoOne – modular synthesizer, voice, sound fx programming.
Ugo Vantini – electronic pad drums & percussions, loops, ambience, field recordings.
Recorded, mixed and mastered by Silent Chaos.
Album photos & Cover art|design by Silent Chaos
A syndrome that is clearly spreading in the world:
Cotard’s delusion, also known as walking corpse syndrome or Cotard’s syndrome, is a rare mental disorder in which the affected person holds the delusional belief that they are dead, do not exist, are putrefying, or have lost their blood or internal organs. Statistical analysis of a hundred-patient cohort indicated that denial of self-existence is present in 45% of the cases of Cotard’s syndrome; the other 55% of the patients presented with delusions of immortality
Released for Distorted Void in the compilation Forgotten, Abandoned, Desolated on July 14, 2018
Marta NoOne – modular synthesizer, voice, sound fx programming
Ugo Vantini – electronic pad drums & percussions, loops, ambience, field recordings
Recorded, Mixed & Mastered by Silent Chaos, Nyctophilia Studio, Scotland
The labyrinth combines the imagery of the circle and the spiral into a meandering but meaningful path. It is a powerful metaphor for life’s journey, but it also provides a particularly satisfying neurological experience. Our brains operate differently in a labyrinth, it seems, and therefore, we become different people, even for just a few minutes. To understand labyrinths, you must first understand that a labyrinth is not a maze. Mazes must be solved, a left brain activity that involves choices and an active mind and logical, sequential, linear thinking. A maze is multicursal, with many paths. If you don’t pay attention, you can get lost in one. Not so with a labyrinth. It is unicursal – one way in, one way out. There are no decisions, no choices, no thinking required. The only choice is to enter. To walk one is a right brain activity involving intuition, creativity, and imagination, and it requires a receptive mindset. You must trust the path, surrender to it.
A labyrinth is not a puzzle; it is a mystery. Theologian Diogenes Allen illuminates the difference: “When a problem is solved, it is over and done with. We go on to other problems. But a mystery, once recognized, is something we are never finished with. Instead, we return to it again and again and it unfolds new levels to us. Mysteries, to be known, must be entered into. We do not solve mysteries. The deeper we enter into them, the more illumination we get. Still greater depths are revealed to us the further we go”.
Our brains are looping mysteries like labyrinths.
Released for Eighth Tower Records in the compilation Labyrinth on July 14, 2017
Marta NoOne – modular synthesizer, voice, sound fx programming
Ugo Vantini – electronic pad drums & percussions, loops, ambience, field recordings
Recorded & Mixed by Silent Chaos
Mastered by Sonologyst
The Games We Play is proud to present an epic dark ambient mix by the wonderful Silent Chaos
Tracklist:
00:00 Odysseus’s journey (micro – Eclectic Productions 2017)
10:27 Chains of Abyss (VV/AA Gatti neri che cadono VOL.2 GNCC 2017)
18:54 Ritual for a New Era (Unreleased 2017)
31:03 Eleusi (micro – Eclectic Productions 2017)
42:47 Daedalus of possibilities (Various Artists – Labyrinth – Eight Tower Records 2017)
50:19 Technological monk (micro – Eclectic Productions 2017)
57:58 Inner transmission (Unreleased 2017)
1:09:47 Insania (micro – Eclectic Productions 2017)
1:14:40 Ab Origenes (micro – Eclectic Productions 2017)
Silent Chaos for Sound Scotland
“The first performance at this year’s festival of the ‘Late night soundsessions’ series saw Silent Chaos give an ever-impressive performance, showing off their prowess with electronic composition. The enigmatic duo, Marta Noone and Ugo Vantini, showed their full engagement with every aspect of their sound, manipulating vocal frequencies fed though a microphone and through their modular synthesiser. The drum samples triggered by Vantini’s hands were crisp, clear and well mixed. The sound was evenly balanced and had strong presence without relying on mere loudness alone.
The setting of the Belmont Filmhouse Kino Bar also provided a comfortingly intimate, yet enthralling space for the act. The effect of their pieces was a meditative stupor interrupted only by slow methodical grooves. Despite the sure chaos of their philosophical and political philosophy, the music itself was wonderfully composed and carefully thought through.”
Review by Samm Anga
Silent Chaos at Listen Again Festival 2019, a fringe of Look Again Festival of Aberdeen, with an afternoon workshop on modular and subtractive synthesis by Marta.
“Origins” explores the possibilities inherent in sound to eliminate the sense of reality, bringing the listeners in other spaces and other times, with the aid of the looping, continuously changing and glitching video. The tense structured drones create an atmosphere where the sense of historical time is lost, leaving the listener suspended in a dark and dreamy world, and the far but pressing drums that sneak into that world transport you to ancient times, where the superhumans archetypes still reign. We as western civilization are losing contact with our archetypes, with our ancient roots, we are becoming disconnected from nature and our true selves.
Silent Chaos are proposing a sound, a sort of ab-original sound that can evoke the remnant shadows of what we were and bring them to life again. That’s why in the video they use the Venus of Willendorf and other Neolithic artefacts, as symbols of the archetypes that still shape our souls, even if they are forgotten; and it glitches and shivers and get fragmented because is what the technology is doing to us. Technology must be and remain a means, not a goal, and humanity has to regain its freedom from it and reconnect with its ancestral roots.
Audrey The Plant: bio-feedback module SCÍON by Instruō
Marta NoOne: Guitar, Fx, Modular Synthesizer, Loops
Ugo Vantini: Synbals (Synthesized Cymbals connected with the Modular Synth via contact microphones)
Recorded Live on Saturday 1 June 2019 at the Japanese Garden in Duthie Park, Aberdeen, for the event “Sonic // Art // Botanical Garden” organized by Wagon.
“The secret music of plants” by Silent Chaos
A plant-driven audio performance. An eurorack modular system is totally controlled by plants via the SCÍON bio-feedback module built and engineered by Instruō, based in Glasgow, Scotland.
The project is the apical part of a 3-year research upon the ancestral archetypes of mankind and the tonal textures which can evoke such archetypes; it aims to explore our origins, both spiritual and material, digging deep into the collective unconscious, using complex environments in contemporary media art for creating self-evident and unique experiences, that invite the audience to dive into the legacy of Humanity and to reconnect them to their Origins.
The study of the C.G. Jung’s writings on Collective Unconscious, researches in Philosophy (presocratic philosophers, Gnosticism, Neoplatonism, the “Occulta Philosophia” of Renaissance) and Ethnomusicology, as a holistic and philosophical investigation of music in its cultural contexts, brought us to this kind of composition. In addition to the evidence that the more the current mankind runs toward the moral and spiritual inconsistency of everyday technology, the more it runs away from its native sources, leaving behind, and buried, all the natural forces that once held up humanity.
“Stepping back to ancient times, Origins aims to regain freedom from technology to reveal ancient human archetypes and ideals that are becoming all but lost. Building tension between structured drones, steady drums and continuously changing and glitching visuals, Silent Chaos create a dark, dream-like environment where we discover a growing disconnect with nature and our true selves.”
The A/V project “Origins” has been performed at the Glasgow CCA for Cryptic Nights.
Audrey The Plant: modular synth played with the bio-feedback module SCÍON
“The secret music of plants” by Silent Chaos
A plant-driven auto-generative sound performance. An eurorack modular system is totally controlled by plants via the SCÍON bio-feedback module built and engineered by Instruō.
Gathering inspiration from the sacred place, Silent Chaos created a ritualistic electroacoustic concert, using modular synth, field recordings, drums and cymbals microphoned and connected to the modular system. Taking advantage of the majestic architecture of the church, the projected sound-responding visuals generated an oniric atmosphere for the deep drones, choruses, and hypnotising loops Silent Chaos were creating while channelling from higher planes.
The A/V project “Permutations – An electronic adventure in Time and Space” has been performed at the Kirk of St. Nicholas for sonADA inTransit.
UNIVERSITY OF ABERDEEN CONCERT SERIES 2018 – 2019
SHIFT-ENTER
AN EVENING OF SONIC ARTS
The 15 minutes long composition “Synbals – Synthesized cymbals” was created for the Shift/Enter night of the University of Aberdeen’s Music Department.
Cymbals with contact microphones attached, passed into the modular synth, both as a direct signal, modified and reverberated, and as FM synthesis operators for oscillators. A Tibetan bell with a contact microphone is passed in a granular synthesizer, deconstructed and delayed ad infinitum. Harmonic chant with long reverb recalls ancient times. Synbals aims to investigate the possibilities inherent in the use of acoustic means in ancient ways, passed thru technology and advanced synthesis techniques.
“The first duo to perform on Thursday were Ugo Vantini and Marta Noone who work under the name of Silent Chaos. One of the instruments used in their new work entitled Synbals is called a Dronin or perhaps D(Ronin) a bowed handmade instrument created by the Sardinian musician and instrument maker Massimo Olla. Look it up on the internet where you will both see and hear it. It is amazing. Synbals opened with Marta hitting a small bell-like instrument and then Ugo Vantini began activating the cymbals by stroking them with thin chains. Later, Ugo used beaters or just the nails of his fingers to draw different sounds from his cymbals while Marta bowed the Dronin or sang notes, some of them remarkably deep, into a microphone. All these amazing things were amplified or reshaped electronically. The resultant sounds ranged from whispers to explosive roars. They sounded metallic, percussive, becoming almost orchestral or like a large choral extravaganza. Altogether it was new and hugely entertaining to both watch and to hear.”
Silent Chaos – “Schizophrenia in Schizophonia” – Opus for modular synthesizer, speeches, field recordings and electronic percussions
I. Us
II. They
III. The World
IV. The Judgment
This work aims to explore, through the use of Schizophonia and analog synthesis, in a strongly critical way, the human and spiritual schizophrenia that, in the vision of the artists, we are experiencing in the present days.
The everyday life, made of familiar sounds, and the natural life, in which mankind has its roots – but from which it is being torn away by the massive use of technology and mechanical means – are put in relation with the global political choices and cooperative and multinationals behaviours, from which they are governed in a way or another.
The exploration continues making questions about our future and how it will be affected by the use or the misuse of advanced technologies, such as AI, space travel, renewable energies, GMO, and geoengineering, ending with the major threat humanity has ever faced: climate change and environmental disasters, seen in a philosophical and apocalyptic way.
The narration is done with the use of field recordings, samples, and analog synthesis, with the speeches of the major world actors of our time taken from conferences, interviews, media channel news, etc., as the backbone of the entire composition.
Within the limits of the movements, the performance is totally improvised.
Silent Chaos – “Schizophrenia in Schizophonia” – Opus for modular synthesizer, speeches, field recordings and electronic percussions
I. Us
II. They
III. The World
IV. The Judgment
This work aims to explore, through the use of Schizophonia and analog synthesis, in a strongly critical way, the human and spiritual schizophrenia that, in the vision of the artists, we are experiencing in the present days.
The everyday life, made of familiar sounds, and the natural life, in which mankind has its roots – but from which it is being torn away by the massive use of technology and mechanical means – are put in relation with the global political choices and cooperative and multinationals behaviours, from which they are governed in a way or another.
The exploration continues making questions about our future and how it will be affected by the use or the misuse of advanced technologies, such as AI, space travel, renewable energies, GMO, and geoengineering, ending with the major threat humanity has ever faced: climate change and environmental disasters, seen in a philosophical and apocalyptic way.
The narration is done with the use of field recordings, samples, and analog synthesis, with the speeches of the major world actors of our time taken from conferences, interviews, media channel news, etc., as the backbone of the entire composition.
Within the limits of the movements, the performance is totally improvised.
Sensorio mutationes
Sperimentazione musicale: Breaking Wood e Silent Chaos (Marta NoOne e Ugo Vantini)
Sperimentazione Visiva: Flavio Parente
Core Gallery – Roma 1 aprile 2017
Experimental ancient music and sound-reactive video for experimental ritualistic theatre.
Experimental ancient music for experimental ritualistic theatre, live in radio.
Experimental ancient music and live video composition for experimental ritualistic theatre.
Experimental ancient music for experimental ritualistic theatre, live in radio.
