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movement 1 - living elegy
[00:00_articulation; 05':35"_transition rite; 09':50"_abandon]

movement 2 - 13':30"_nostalgia

movement 3 - transfiguration
[21':16"_detachment; 26':00"_intimate power; 30':30"_extended mind; 34':20"_immanency]


All instruments and compositions _ Luca Canciello & Lorenzo Brusci
Vocals _ Movement 2, The Zimbabwebird; Movement 1 and 3, Sosta Palmizi

Text, Movement 2 (by Zimbabwebird, in Zulu and Shona, 2015):

"Thuma mina, mweya mutsvene.

[Send me, pure spirit.
And then send me.]

Visual design: Lorenzo Brusci
Master: Luca Canciello


released December 2, 2016

Lorenzo Brusci, 1966, co-founder of, managing partner at the music robot start up MUSICFIT (

He launched over the last 20 years prestigious adventures in the audio and sound space design field as the sound and interactive design studio GIARDINO SONORO ( and the architectural speakers manufacturer ARCHITETTURA SONORA.

He has been composing music for various ensembles, theatre, television and radio since the early ’90s (He founded in 1993).

Lives between Berlin, Tuscany and Krakow.


Luca Canciello, Italian born, Berlin based.

Multi-instrumentalist, composer, sound designer, he performs experimenting with live electronics, instruments and sounds.

His musical journey and inspiration have brought him into various fields and art disciplines, working solo or collaborating with other artists and bands.

His interest for other art forms, in particular dancing, leads him composing musical pieces for theatre, dance companies, experimenting the various natures of rhythm in music .

On sound design, he’s been involved on projects linked to international cultural heritage and architectural media mapping.


The mechanism of individual and collective memory and its rituals, are the central inspiration of our Requiem. It’s not a formal Mass; our intention was to harvest and express the community’s need of sharing and binding its ties while facing the experience of death.
A deep sense of community - religo in latin, binding in english - inspired our structural research.
Requiem becomes then the concerting moment that asks for “holding back”, a desperate request of time suspension, the ultimate demand for re-living, re-experiencing, re-loading, re-gaining, now, in this very ritual and public moment what will be lost forever.
Through a free attitude in music composition and expression - our syncretism - we designed a process of electroacoustic layering, consolidating in 3 compositional areas the process and destiny of organic life.

- Living Elegy - the enchantment for life and its many endangering gates: the movement is subdivided in (living) Articulation, (ritual)Transition and (pathological) Abandon;
- Nostalgia - the seeking for the integral time suspension and life preservation;
- Transfiguration - where we depict the organic reaction to danger and biological faith, subdivided in (furious and ultrabiological) detachment, (regenerating) intimate power, (coding the) extended mind, (persuing a new form of) immanency.



Italian sound artists Luca Canciello and Lorenzo Brusci have an important career in the fields of audio, music and composition for different art forms.
Bresci lives between Berlin, Krakow and Tuscany and Canciello resides in Berlin.
"Requiem", released on German Attenuation Circuit, consists of one track with three movements: "Movement 1 - Living Elegy", "Movement 2 - 13 ': 30"_Nostalgia” and “Movement 3 – Transfiguration.”
This is an avant-garde improvisation proposal in which blend elements of classical music, experimental electronics and noise.
The music is abstract, dark and intense as every sound that emerges is unpredictable and disturbing.



Lorenzo Brusci (Timet, Climnoizer, Giardino Sonoro) & Luca Canciello gestalten als SYNCHRE mit ihrem Requiem (ACU 1009, CD) aus Drones, Breakbeats und dunkel grollenden Blechbläsern (oder Orgelpfeifen) einen Dreisatz aus 'Living Energy', 'Nostalgia' und 'Transfiguration'. Als einen Übergangsritus, mit einer zart flehenden Gesangseinlage von Tozim Madzima aka Zimbabwe Bird, zu plonkenden Lauten aus dem Innenklavier. Danach wieder rauschend sich wälzende, zittrig verzerrte und knarrende Synthie- und Gitarrensounds, mit Vogelgezwitscher durchsetzt und erst zeitlupig gedehnten, dann wieder zuckenden Beats. Und zuletzt auch wieder der dunklen Bläserpracht, zu der sich diese grandiose Musik der brausenden Verwandlung entgegen stürzt. Wer braucht noch eine Leitkultur, nach so einem Durchgang ins weiße Licht?




attenuation circuit Augsburg, Germany

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