“Pure Chaos” is Silent Chaos’ 4th studio album. Composed of released singles, unreleased tracks, and works for installations, this 8-track album is incredibly organic and transports the listener on a deep journey into darkness, with cinematic obscure sounds and sepulchral drums, ancient rituals for this new era, Crowleyan influences and suggestions from the deep space. Silent Chaos’ composition is based on performative improvisation framed in a pre-decided structure, thus their sound appears organised even if unpredictable, with ever-changing textured drones that hypnotise the listener.

The tracks that compose “Pure Chaos” have been created with a broad range of techniques: from
improvisation to classical composition methods, as well as acoustic instruments synthesis, electroacoustic techniques, autogenerative music, field recording manipulation, granular synthesis, modular synthesis.

Pure Chaos is going to be released in physical format, a 12-page booklet digipack, through Code 7 universal distribution and Cold Spring Records warehouse and mailorder, and in digital format on all the usual platforms and on Bandcamp for WDGAF.

Silent Chaos released their debut album “Micro” through Eclectic Productions (Italy) in 2017, and they were featured in four international compilations; the second album “Osclltr 012” was released in 2018 through the Berlin label Osclltr Records. Their third studio album “Macro”, has been released on Spring Equinox 2020 for the label WDGAF (UK).

Silent Chaos did sonorizations for art exhibitions, composed for experimental theatre and live radio performances, and performed, with their audiovisual projects, at the Italian contemporary art museum MAAM and in various other venues between Italy and UK. Currently based in the North East of Scotland, Silent Chaos presented their composition “Schizophrenia in Schizophonia” in a live performance at the SERG Sonic Realities International Postgraduate Research Conference 2018 in Aberdeen, and performed at the King’s College Chapel of The University of Aberdeen; they performed with the A/V site-specific work “Permutations”, at the Kirk of St Nicholas in Aberdeen, in Autumn 2018 for sonADA inTransit III; they performed at the Glasgow’s CCA for Cryptic Nights on March 2019 with the A/V project “Origins”; they’ve also performed “Origins” at Anatomy Rooms in Aberdeen for Listen Again Festival 2019, the fringe of Look Again Festival. “Origins” radio edit has been broadcast for Radiophrenia 2019. They performed for WAGON in the Japanese Garden of Duthie Park “The secret music of plants”, an electroacoustic performance which involves a plant connected to the modular synthesizer with biofeedback sensors, letting the plant generate music through the synthesizer. In October 2019 they performed “Origins” at Soundfestival in Aberdeen.

In October 2021 they participated with the composition “L’Oscuro Oceano dello Spazio Infinito“, originally commissioned by Soundfestival for the 2020 Festival, in the event Surroundsound: Sound Fountain at Marischal College, hosted by Soundfestival for British Art Show 9.
In Summer 2019 they were awarded the Alt-W Fund by New Media Scotland and Aberdeen Performing Arts, to produce a generative artwork for Aberdeen’s Music Hall giant LED screen. The exhibition has been postponed to 1 November 2021 because of the lockdown. With “Human AutomatArt” Silent Chaos fill the Music Hall with a bespoke network of different types of sensors, whose gathered data drive the digital painting visualised live on the screen. Human AutomatArt has also been in Edinburgh in April 2022 for the DataSphere exhibition, for Edinburgh Science Festival, at the National Museums of Scotland. It is going to be displayed again in Aberdeen for Spectra 2023 – Festival of Light.

“Fear and elevation. That’s what this sounds like. It seems that Silent Chaos are attempting to bring the listener into their own brand of higher consciousness. The realm of metaphysics interpreted as a listening experience. Many artists have attempted this idea for many years… but few have been as successful as Silent Chaos.” Corey Philips

SILENT CHAOS – PURE CHAOS

01 – Silent Chaos – Cotard’s Syndrome – The waking dead
02 – Silent Chaos – Chains of Abyss
03 – Silent Chaos – Meditation of the Middle Pillar
04 – Silent Chaos – Ritual for a New Era
05 – Silent Chaos – Synbals
06 – Silent Chaos – Daedalus of Possibilities
07 – Silent Chaos – The Autogenerative Secret Music of Plants
08 – Silent Chaos – L’Oscuro Oceano dello Spazio Infinito

Silent Chaos “Pure Chaos”: performed, recorded, mixed and mastered by Silent Chaos
Artwork by Silent Chaos + Artificial Intelligence, digipack format, 12 pages booklet
Produced by We Don’t Give A Fuck
Distributed by Code 7 – Plastic Head
Releases on 23-01-23

Silent Chaos website
Silent Chaos Bandcamp
Silent Chaos IG
Silent Chaos Linktree
Silent Chaos contact: silentchaosproject [at] gmail [dot] com

WDGAF website
WDGAF Bandcamp
WDGAF IG
WDGAF Linktree
WDGAF Contact: info [at] wedontgiveafuck [dot] xyz

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Silent Chaos took part in this project with a very strange composition called De-Konstruktion.

De-Konstruktion by Silent Chaos >>> https://audioboom.com/posts/8013933-de-konstruktion

The original recording is about one hour long, thus we decided to do a work of sampling by cutting pieces of various lengths, organising them and then modifying, stretching, glitching, and distorting them in different ways. Every single sound of which the composition is made is cut from the original recording, no other sample has been used. The original recording, being an anniversary of the 100 years of Germany’s radio transmissions, lead us to think about the essence of radio and thus direct our composition in that way: Silent Chaos created a suite that is continuously changing, glitching, and buzzing as if we were jumping from a radio station to another. The idea was also to get the samples from an ordered recording of old pieces, cut and reorganise them in a chaotic and glitchy way, and then recompose the new samples in a harmonic and organic manner but recomposed using the modern styles of electronic music.

Shortwave radio is one of the most fascinating sonic worlds – capturing vital moments in world history as well as the thrill of pirate radio, clandestine radio stations, secretive number stations and military and spy radio. All of humanity is truly out there to be listened to at the turn of a dial.

Cities and Memory have teamed up with The Shortwave Radio Archive to present more than 100 incredible recordings from the history of shortwave radio all over the world for artists to remix and reimagine.

Shortwave Transmissions is their latest global project – exploring the world of radio at the turn of a dial. Launching on Sunday 13 February to celebrate UNESCO’s World Radio Day.

There are some incredibly rich recordings to work with as source material – here is just a sample selection:

– Recordings from the mysterious “numbers stations” around the world.

– Coverage of world-changing events such as 9/11, the invasion of Kuwait, Kennedy’s assassination, Tiananmen Square protests, the death of Fidel Castro and many more.

– Rare international recordings from St. Helena, Nicaragua, Saudi Arabia, the Falkland Islands and Antarctica.

– Recordings covering a huge period of time from 1934 through to the present day.

– Space travel documented, including the Sputnik, Apollo and Challenger missions.

– Recordings of famous voices such as Winston Churchill and King George V.

– Station IDs, interval signals and final broadcasts from radio stations.

Compositions will be presented in the Shortwave Transmissions project and to thousands of listeners across the Cities and Memory podcast, and a selection of compositions will be chosen for an accompanying album release.

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The unique soundscape of “L’Oscuro Oceano dello Spazio Infinito” has been composed having in mind the sound generated by the movement, the rhythm, the sound and the play of light on the water of the Marischal College’s fountain. Using delayed and reverberated tinkling glass sounds, random electronic sound patterns, deep and dark slowly evolving atmospheres, and enigmatic choir drones, we imagined how the deep space would sound like, and, by the alchemic motto “as above so below”, we explored how the sound of the “above” would merge and play with the sound of the “below”, here symbolised by the water games of the fountain.

This concept was generated from our reasoning around the originating substances of matter. Having a Mediterranean and classical culture, our mind went immediately to greek mythology in which Oceanus and Tethys were the primaeval parents of the gods, and so the origins of all things, and the upper and lower waters which were then separated to create the heaven and the earth, also paralleling the story of Apsu and Tiamat in the Babylonian cosmogony. Also, Thales, the ancient Greek philosopher, arrived at the same conclusion by the use of reasoning, observing how ‘that the nurture of all creatures is moist, and that warmth itself is generated from moisture and lives by it; and that from which all things come to be is their first principle’.

The composition will be rotating as follows:

August

21-27 August: Ross Whyte
28-3 September: Silent Chaos

September

4-10 September: Bea Dawkins
11-17 September: Pippa Murphy
18-24 September: Ross Whyte
25-1 October: Silent Chaos

October

2-8 October: Bea Dawkins
9–15 October: Pippa Murphy
16-17 October: Ross Whyte
18 October: Silent Chaos
19 October: Bea Dawkins
20 October: Pippa Murphy
21 October: Ross Whyte
22 October: Silent Chaos
23 October: Bea Dawkins
24 October: Pippa Murphy

Aberdeen City Council has advised us that the fountains are currently operational between 8am – 10pm Monday-Sunday. Please note that due to an ongoing issue, the fountains may be switched off from time to time.

Evening Express article here.

Aberdeen City Council infos for BAS9 here.

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Nocturne on Ganimede – The vision from other worlds of impossible perspectives. The expansion of dimensions intersecting in emotional labyrinths. The journey continues into unknown universes.

Nocturne on Ganimede – Pixelsorting live video manipulation by Marta NoOne with TOUCHDESIGNER.

“MACRO” is the second, long due, part of the project “micro//MACRO”.
The music on “MACRO” is the evocation of archetypes buried in the collective unconscious, shown in a new emotional light. The use of electronic tools, such as modular synthesizers and electronic pad drums that control loops, samples and field recordings, offers Silent Chaos a wide sound palette, from which Silent Chaos draw to define their personal stylistic framework.
Each composition determines a special universe in which crop up echoes of musique concrete, choirs, tribal sounds, noise and ambient, in sound experiments that envelop and surprise even those not accustomed to listening to these genres.
The album “MACRO” is the mature fruit of years of A/V concerts, theatre and radio performances, rehearsals and recording sessions, which, through felt and suffered selections, finally reveals a pleasant surprise even for the artists themselves and it expresses the maximum potential amount of the moment’s intuitions, chosen to represent the best of their research work.
Listening to “MACRO” demands special attention, to immerse deeply in the particular atmosphere of each song evoked by the musicians; attention that has been lost in this era of rapid artistic consumption, and against which the Silent Chaos are fighting, offering another vision of the moment that anyone, if he wants, can gaze into and share.
“MACRO” is the story of a journey, the one that takes the spirit from the Microcosm (as in the album “micro”) – where is staged the destruction of the worldly self that allows access to the Mystery – to the Macrocosm, in which, recognized the self and the world limits, the Intellect is pushed toward unknown horizons, with the terrible and sublime purpose of making the deconstruction of the Whole, to finally reconstitute itself as a primordial Adam.

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