“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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In the present world, every human being has become a living set of data, and potentially a content creator. With Human AutomatArt, we are transforming Aberdeen’s Music Hall into an information collector, gathering data from the human activities occurring there, via movement detection, sound and temperature sensors, whose data are generating the digital painting on the screen. Doing so, the unaware human beings become the autonomous agents whose behaviours create the structure for the generative art program, and the human life and related activities as a whole become the painting artist.

The project’s name Human AutomatArt is a mixing of the words-concepts Human, Cellular Automata and Art. Using the logic at the root of AI programming, we want to humanise this process, using the human beings as “cellular automata”, independent unities with different behaviours which interact with their environment and can generate an interesting emergent complexity, which is going to create a complex piece of visual art.

The idea flourished while we were reasoning around the digital world and the importance of data, and how to let interact the real-life analog world with the digital one in an artistic way. The use of sensors was the obvious choice.

We imagined transforming the Music Hall into a living harvester of data: using a webcam as a movement detector, an Arduino board with a temperature sensor, and an audio connection from the main hall, all connected via Ethernet cables to the main computer, we collect all those data that are driving the behaviour of the generative art program made in TouchDesigner.

People’s interaction works if they are completely unaware of how their behaviour is driving the program because one of the essential criteria of the generative art is that the system needs to be autonomous: independent of outside control, free of any guiding hand. If the human agents are acting unaware, or uninterested, in the effects their actions are having on the system, they become as valid a data source as any other autonomous object. What we want to accomplish with this project is to take a step back from the overwhelming technology and insert the human being in a process that is usually computer-driven, using the technology as a means, not as an end, with the human activity regaining central role.

Our latest projects all involve sensors; the autogenerative series The secret music of plants, which involves a plant connected to the modular synthesizer through biofeedback sensors, with the plant that is generating music through the synthesizer; Aletheia, that is Marta’s Master’s in Sonic Art’s final project, a quadriphonic interactive composition for custom-built EEG devices, which involves EEG sensors and Arduino to generate music in Pure Data using brainwaves. The “Human AutomatArt” project is the logical consequence of these works.

The technique used is that of the feedback loops we have already used in “Nocturne on Ganimede”, but enhanced and enriched, to generate this effect of 3D coloured ink that is coming out of the screen.

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Thanks to the Instruo module SCÍON, which is a biofeedback sensor built into a quad random voltage generator based on the MidiSprout by Datagarden, the biofeedback data gathered from the plant are transformed into musically useful control signals, like CV and gates. Tiny fluctuations in surface conductance on the leaves stimulate control voltage and gate signal changes that are used to modulate and control all the modules of the eurorack synth. The CV and gates are also sent to the CV-to-MIDI module Sweet Sixteen by Tesseract to be transformed into MIDI CC (control changes) and sent to the Korg OpSix, where they modulate the FM operators ratio and the synth FXs.

The result is an ever-changing, sweet and intense, composition that leads the listener to the secret worlds generated by the plant, and by the succession of micro and macro phenomena.

Everything in the Universe is strictly intertwined, and we believe that if we could hear this entanglement, this would be the sound.

“The Secret Music Of Plants” first version was 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.

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)

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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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Thanks to the Instruo module SCÍON, which is a biofeedback sensor built into a quad random voltage generator based on the MidiSprout by Datagarden, the biofeedback data gathered from the plant are transformed into musically useful control signals, like CV and gates. Tiny fluctuations in surface conductance on the leaves stimulate control voltage and gate signal changes that are used to modulate and control all the modules of the eurorack synth. The CV and gates are also sent to the CV-to-MIDI module Sweet Sixteen by Tesseract to be transformed into MIDI CC (control changes) and sent to the Korg OpSix, where they modulate the FM operators ratio and the synth FXs.

The result is an ever-changing, sweet and intense, composition that leads the listener to the secret worlds generated by the plant, and by the succession of micro and macro phenomena.

Everything in the Universe is strictly intertwined, and we believe that if we could hear this entanglement, this would be the sound.

“The Secret Music Of Plants” first version was 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.

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)

Facebook event

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First of all, it is a concept album: it narrates a, probably, near future, where the industrial civilization has collapsed and its only remains are falling industrial buildings, antennas, pylons, machinery, electronic devices, which don’t have any meaning for a humanity that regressed to an almost pre-historical condition. They don’t know what these remains are, and they worship them as gods and spirits of the machines; they create rituals to ensure their protection and generate chants to ingratiate and celebrate these terrible gods. The only vague memory this humanity has of its past is of a giant cataclysm that brought death and destruction to the whole planet; so, in their confused and eradicated existence, they worship death as the only savior from their terrible condition. An animistic attitude merges with the ghosts of the consumeristic society: they want to sell their souls for something they don’t remember anymore, and they drag themselves in this desert of the machines, on this Earth that has lost any drop of life. But there is always a way, a possibility to be born again, and amongst them already walks the mother of a new humanity.

As the seers of a not-so-distant future, we narrate the Origins of this future human rebirth.

The whole project will consist of an album and a graphic novel as its final outcome, and of this blog that we’ll populate with stories and images from this foreseen future, as well as shots from the work in progress both of the album and of the graphic novel, compositional insights on our techniques, and dark autogenerative live sets.

The graphic novel by David Emanueli is his own personal interpretation of the world we are creating: because of an event of mass extinction, linked to the drying up of the planet’s resources, humanity almost disappeared, together with the life on the planet. On the edge of the abyss, an absurd phenomenon appeared: suddenly a voice arose from the objects around, could it be a broken radio or a rusted washing machine: the god of the machines was talking simultaneously to all the survivors, in a collective hallucinatory delirium. That’s how men locked themselves in a funereal silence and lost themselves in the chaotic noise of a dogmatic mass psychosis. We’ll discover then what happens next…

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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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