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MIGRATION metamorphosis - 1st Movement: Migration

by THE HYBRIDS / Brusci - Lieb

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Migration 41:30


[THE HYBRIDS - Brusci Lieb Duo]

at Heinz Lieb’ studios (Rorschach, CH),
at Climnoizer’s studio (Berlin, DE),
at Lorenzo Brusci’s Timet-studio (Montevarchi, ITA),
March-June 2015

.re-composed, post-produced and mastered between June and October 2015 in
Montevarchi by Lorenzo Brusci at his Timet-studio
(Montevarchi, ITA).

Lorenzo Brusci – Electronics, Live Electronics, Compositions
Heinz Lieb – Acoustical Percussions, Cosmic Drums, free improvisations
guest artist:
Luca Canciello (alias Climnoizer),
Guitars on Mov. I / MIGRATION and on Mov. 3 / METAMORPHOSIS;
Monophonic Synthetizer on Mov. II / ADAPTATION
attenuation circuit
ACP 1107 ° 2018
The living tension to overcome given obsessive overwhelming realities

The fundamental process of any ideal Inclusive future.
We are allowed to still have
Driving Missions
Radical enough to design an alternative worldscape.

Metamorphing the unbearable present
The framing phrase of immanent violent depriving conditions
Leaving unchosen uncontrollable frustrations and humiliations
Delimited Unlimited Anxieties
Leading to certain self and collective destructions.

Dynamic and Open spacing
Is the only strategic policy
The solidarity factor
Is the only possible ecology.
Spacing justice is not a political choice
Is an evolutionary necessity.

We musically and expressively tried to intertwine the wills
Of being -adopting- -dancing with- anyone
Who suffers to be recognised, reborn, re-graced
As a human potential
A beauty sharer
A world maker.


Andavamo tutti come fosse una migrazione (1991)
di Giancarlo Majorino

Andavamo tutti come fosse un’emigrazione
chi per acqua chi per terra, allarmati
notammo che un leone ci oltrepassava
ma era come quando nella tundra incendiata
fuggivamo insieme felini e prede uccelli e serpi
cos’era cosa poteva esser stato nulla ricordo
non fatti precisi non odor di bruciato migravamo
in ratti gusci motorizzati e caschi a piedi scalzi
da chi sa che mossi transitavamo nel piano sembrante discesa
così potevamo saremmo riusciti a scampare arrivare ansando entro
quando? in tempo e non contavano orario e luogo transitare
occorreva, altro corpo! snello basso e tozzo su quattro sciolte zampe
quasi una lotta di molte zampe gambe
una testa bianca tra colli di giraffe
sandali orme zoccoli nella sabbia
nel suo trotto a zig zag cinghiale irsuto
con famiglia a fianco bimbo su bici
gara di motocicli chiatte e scafi accanto
una universale processione forte respirante
sbandata ma diretta senza macchine da presa
o per quegli apparecchi occhialuti ritrasmessa
eravamo dentro pure per noi scorreva noi fissi davanti
cosa preoccupava il rinoceronte con intorno il vuoto?
la mandria pelosa che panicata quasi s’ingoiava?
la coppia remante arti e respiro sotto forte ipnosi?
il caduto rischiava tutto ma
capitava e dopo un grido d’aiuto
quasi tranquillizzato si chetava
trafitto schiacciato
trafitto schiacciato, per le mosche
i fastidiosi insetti non v’era tempo
di notarli, né i canterini uccelli
dardeggianti vi saranno stati
non era il momento di ricercarli non era il momento
andava come l’acqua un’acqua umana
e animale a non si sa che pozzo tentando
abbandonando non si sa che male


(english translation - basic)

We all went as if it were an emigration
who for water who on the ground, alarmed
we noticed that a lion passed over us
but it was like when in the burnt tundra
we flew together felines and prey birds and snakes
what was it could have been nothing I remember
not precise facts, no smells of burned we migrated
in rats motorized shells and barefoot helmets
from who knows that moved we passed in the plan seeming descent
so we could have managed to escape getting panting by
when? in time and did not count the time and place to transit
it needed, another body! slender and squat on four loose legs
almost a fight of many paws legs
a white head between necks of giraffes
sandals footprints hooves in the sand
in his trotted zig zag boar hirsute
with family alongside child on bike
race of motorcycles barges and hulls next
a universal strong breathing procession
skid but direct without cameras
or for those retouched spectacles
we were inside, even for us, we were staring at each other
What worried the rhinoceros with the emptiness around?
the hairy herd that she panicked almost knelt?
the pair rowing limbs and breath under strong hypnosis?
the fallen risked everything but
it happened and after a cry for help
almost reassured, he knelt down
crushed pierced
crushed pierced, for flies
the annoying insects there was no time
not to notice them, nor the birds songbirds
darting will have been there
it was not the time to research them it was not the time
like human water, it was like water
and animal to it is not known which pit trying
abandoning you do not know which bad


released January 5, 2018

MIGRATION metamorphosis - 2nd Movement: Adaptation

MIGRATION metamorphosis - 3rd Movement: Metamorphosis


more releases by Lorenzo Brusci on attenuation circuit:



As I listened to this piece of music for the first time via earbuds, I was at the local laundromat. Cartoons I had never seen before were playing on the television courtesy of The Disney Channel. There were a lot of laundry carts everywhere and that really bothered me. A guy saw me cleaning them up, then came over and pulled one out from underneath a folding table instead of grabbing a stray one. Some guy sat within ten feet of me eating spicy wings and I'm not sure what this all means but as a visual to this music it was rather interesting. I wish I could've somehow recorded it as a short film.

"Migration" begins with these steel drum type of rhythms and that's really the story throughout the majority of this piece: the percussion. The percussion grows faster as big gongs strike. Boom! Boom! Boom! It has a tribal atmosphere to it. There is also this sound coming through which makes me think of birds flapping their wings and that's not just because of the title. A flute (?) comes into the background now but the huge bass drum is overpowering all of the other sounds now. I'm not sure what it is called, but my high school band had one and it is played with the giant sticks with white heads.

Bongos are a new way to deliver the percussion now and there is this feeling of wheels turning. These sort of space synth/lasers are added in and those drums still remain at the forefront. Roughly nine minutes in and it sounds like a storm is brewing. A little funk now. A deep drone creeping in the background. Lightsaber bursts. Banging and clanking away while soothing lasers enter the field. It becomes an electronic slowdown near the seventeen minute mark.

This has a bit of a birds in space sound to it but then it becomes this wild ping pong ball type of rhythm with the drums still firmly in place. Wall-E talks while it sounds like it's glitching hard. The percussion manages to maintain a sense of the song "Low Rider" still. Droids make their beeps and then a sound is heard which somehow feels like bubbles popping. As it intensifies it dawns on me that this has never really lost that tribal rhythm from the start.

As we near the end, it feels as if it is breaking down, self-destructing. You can literally hear the pieces begin to fall apart. Piano keys might be in there. A certain galloping, a driving pace and whirrs as well. It gets quieter with a deeper, haunted synth. A shaker. Ominous gongs. The percussion slows down but wants you to know it is still there. Dark, deep space drone brings us to an end and it feels like we have just drifted into space, out of reach of any known way to send further communication.

What I like about music and especially music such as this is that it's open to interpretation. On one hand, take a song like "Tom Sawyer" by Rush. I bet you can remember where you were when you first heard that song and when you hear it now it still takes you back there, right? Everyone can have those little unique stories, but at the end of the day we're all singing along to the same words. With something like this though, the specifics of it can become much more precise. I've tried but listening to it will likely only ever remind me of the laundromat and I hope you can have as special of an experience listening to it yourself.





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