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Farara 03:10
Oltrandando 07:56
Nebula 07:44
Warning 05:07
White light 06:27


music, atmosphere, sounds : Alessandro Conedera.
voices and words : Donatella Bartolomei.
vocal guests : Gianni Bonetti (3), Nikita (6), Alessandro Conedera (7)



more releases by Donatella Bartolomei on attenuation circuit:


Filastrocca del burattino

Passi lontani lungo il silenzio
breve racconto dopo lo stacco
frasi lanciate oltreparete
lieve il sospetto,lieve il sospetto
Ancora guardo oltre le stelle
lievi le tracce sulla mia pelle
non ho parole,ho una filastrocca
senti quel cuore,all'amo ora abbocca
Una carezza,carezza sottile,
vieni vicino,languore forte,
una carezza,carezza sottile,
vieni vicino, salta la morte
Salta a piè pari, supera il fosso,
laggiù c'è l'abisso, non mollare l'osso,
salta volando, apri le ali,
getta via i pesi, punta a domani
Il tuo obiettivo sarà l'orizzonte,
vorrai tornare in cima a quel monte,
tornerai te, tornerai me
leva la maschera, saluta anche il Sé
Il burattino accenna un inchino,
la marionetta saluta vicino,
il manichino,il manichino,
gira la testa, ti viene vicino
Creature meccaniche,
pupazzi, Pinocchio,
in questa scena ti trovi sprovvisto
della tua maschera o volto dipinto
Fuggi,fuggi da questa prigione,
le ali t'attendono fuor dalla magione,
vola più in alto, vola alle stelle,
di tutte le luci vivrai le più belle
Fuggi,vola, corri,scappa!


released June 10, 2020

Donatella Bartolomei's unique vocal art fusing opera, soul/jazz, and experimental vocal techniques is a genre all of its own. Much of her practice, both recorded and onstage, is solo work in which she multitracks her voice to create all musical elements with her vocal cords alone. On this new album, she brings her extraordinary skills to a duo project with Alessandro Conedera.

Conedera's electronic atmospheres range from psychedelic sheets of ambient harmony, across which Bartolomei traces melodic arcs with her voice, to the instrumental work of “Warning”, which could almost be classified as goth-inflected synth pop. Bartolomei and Conedera pull off a great job in borrowing from rather accessible musical idioms while avoiding all clichés and turning the ingredients into something otherwise unheard. On some tracks, vocal guests add male voices to create a sort of abstract “play for voices”.

This release, Bartolomei's first physical release on attenuation circuit, is the happy result of networking synergies at the label's Augsburg homebase. The release concert of her 2017 album “Sacra Dea” on Atemwerft, the Augsburg-based vocal arts label, was co-hosted by attenuation circuit. This initial contact led to several follow-up concerts by Bartolomei in Augsburg and, eventually, to this CD.

File under: vocal, ambient



Dolf Mulder compared Donatella Bartolomei with Diamanda Galas (Vital Weekly 1054). Now she returns with Alessandro Conedera, who is responsible for 'music, atmosphere, and sounds’. I assume he creates these with electronic means, without being specific what these means are. I assume laptop. Bartolomei sings the words she wrote, and I can imagine there is also some extra effects used on her voice, looping her voice is one of them. Bartolomei has a flexible voice that most suited for opera, theatre and drama. I left her voice-only with Dolf, deeming a bit too much opera for my taste, but now, embedded within the electronic music of Conedera, it works much better for me. The two have a variety of approaches here, ranging more song structured pieces on one hand to something more improvised; often there is also a mixture between both ends. That is clear from the opening piece, in which the voice repeats phrases against a backdrop of a minimalist rhythm, but with space to improvise on the notes. At times the opera-like voice may sound gothic and full-on dramatic, certainly when the electronics are in a similar dark place, which is not always my cup. Once that is left behind, or when the focus changes a bit towards something else, such as in 'Farara', which sounded like a folk song going electro, I was pleasantly surprised, and also with the more 'out there' of the improvisations and perhaps less when it all too dramatic.




Ihre "Sacra Dea"-Cantos auf Atemwerft haben die Diva DONATELLA BARTOLOMEI schon ein paarmal nach Augsburg geführt, etwa zum Re:Flexions Sound-Art Festival 2018 ins abraxas. Für Alchemia Nova (ACU1022) ließ sie sich, die sich sonst allein in ihre Loops hüllt, von ALESSANDRO CONEDERA mit Sternenstaub und Nebelstreifen verschleiern. Um in einer leichten Brise zu tanzen, ihrer Puppe Schauerlieder vorzusingen, aber vor allem, um sich zu empören über die Entzauberung und Entheiligung der Welt. Wobei sie sich für ihre rituellen Repetitionen weiterhin vervielfältigt in eine elfische, der Mondin dienende, aber auch hexende und sibyllinische Schwesternschaft, die feierlich vokalisiert, die keift oder Zaubersprüche raunt wie eine zweite Darja Kazimira. In einer Spannweite von atmosphärisch ambient und mystisch angedunkelt bis gothisch exaltiert, zu Synthiegewölk oder Glockenspiel. Oder auch lauthals und launig zu den rhythmischen Loops von 'Farara'. Sie haucht und keucht im Giallo-gelb beklimperten 'Nebula'. Zu monotonem Beat führt sie theatralisch einen feierlichen Umzug an, doch das Sakrale gibt es nur noch als verzerrtes Als-ob, was nicht ausschließt, bei 'Distorsione sacra' andächtig zu schlucken, oder bei 'Spazio profondo' in Lisa_Gerrard'schem Pathos zu schwelgen. Nach 'Warning' als geklopftem, gepochtem Tänzchen und Synthiepop-Instrumental lässt einen Bartolomei zuletzt a capellaAaAaA uuuUuuuuUu ins Weiße Licht kaskadieren.



Nieuwe Noten

Alchimia Nova, ofwel de stemkunstenares Donatella Bartolomei en de in elektronica gespecialiseerde Alessandro Conodera bracht onlangs bij Attenuation Circuit hun titelloze debuut uit. Informatie vinden over deze twee Italianen valt niet mee, tot ik op een interview stuit in Nemesis magazine. En op Facebook lees ik dat het gaat om een: “Nuovo progetto musicale, vocale, teatrale e creativo”, wat zoveel betekent als: “Nieuw muzikaal, vocaal, theatraal en creatief project”, iets dat de lading in ieder geval goed dekt.

Want het is zeker muzikaal, ook in de zin waarin we die uitdrukking vaak gebruiken, als harmonisch en melodisch. En het heeft zeker ook iets theatraals. De elektronica, maar zeker de zang klinkt zeer expressief, raakt aan de opera en het melodramatische. In het eerder genoemde interview laat Bartolomei weten beïnvloed te zijn door Diamanda Galas en dat is zeker te horen. Het maakt dit overigens wel tot een redelijk a-typisch album voor Attenuation Circuit, dat meestal muziek uitbrengt die meer in de drone en noise hoek zit.

Het tweede stuk ‘Dallo spazio interno/esterno’ maakt duidelijk dat er ook een duidelijk duistere kant aan dit project zit. Donkere nevelslierten trekken over en de stem van Bartolomei wordt zodanig elektronisch bewerkt dat we ons in een serieuze horrorfilm wanen. Tegen Giacomo Pisano zei ze daarover in het interview: “The so-called “dark subculture” is very dear to me, having totally immersed myself in it during my adolescence. But what remains to me today is my personal experience, that is what has given me and left me (a lot!) At every level of my living and being.” Deze energie zet zich voort in het prachtig atmosferische ‘Brezza Leggera’, waarin de stem van Bartolomei klinkend als instrument prachtig samenvalt met de elektronische klanken. Het fel ritmische ‘Farara’ zorgt voor een korte onderbreking en brengt ons even in geheel andere sferen, waarna in de experimenteel theatrale stukken ‘Oltrandando’ en ‘Nebula’ en vooral ‘Filatrocca del burattino’ de draad weer wordt opgepakt. Aansluitend is er in ‘Distorsione Sacra’ weer ruimte voor de duisternis, met een inderdaad sacraal element. ‘Spazio profondo’, de titel geeft het al aan, vormt daarmee overigens een mooi contrast. Iets dat nog sterker geldt voor het wederom ritmische ‘Warning’ en ‘White Light’.





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