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about

attenuation circuit ° ACU 1039 ° 2022
attenuationcircuit.de ° attenuation-circuit@web.de

pics by Wilfried Hanrath
design by EMERGE

This album is dedicated to Julia Kristeva !

Anja Kreysing: accordion, electronics
Petrolio: synth, noises, machines
Boban Ristevski: electronics

www.anjakreysing.de
euerzimmer.bandcamp.com

linktr.ee/Petroliodark

soundcloud.com/boban-ristevski
mojot-svet-na-okultizam.blogspot.com

credits

released March 13, 2022

Literary influences play an important part in electroacoustic composer Boban Ristevski's work, and this international collaboration with Anja Kreysing (accordion, electronics) and Petrolio (synth, noises, machines) is no exception. 'Soleil Noir' is the title of book by Julia Kristeva, to whom the album is dedicated. The subtitle of the 1987 volume by the Bulgarian-born French psychoanalyst, literary theorist and feminist philosopher gives a clue as to what's meant by that 'black sun': 'dépression et mélancolie'.

'Machines' are of course always at work in electronic music, but most people would probably call them 'devices' or 'electronic instruments'. Or 'computers'. The fact that Petrolio refers to them with this rather industrial-sounding term ­ and makes them sound rather industrial, too - invokes the idea of the alienating grind of the machinery of everyday life under capitalism that gives ample reason for depression and melancholy. The musicians set out to deconstruct, even dissolve such rigid rhythms into more fluid sonic states – which one could theorise using Julia Kristeva's own ideas of the 'oceanic', if so inclined –, which eventually stop being states at all but become an ongoing process. While the mood of the album is rather sombre, the fact that things are in a constant state of flux opens up a range of possibilities for listeners.

File under: drone, dark ambient, electroacoustic music

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TheUndergrounder

"Si, la Depressione e la Malinconia, sono più che mai le compagne della globalizzazione. Il Prozac, il Seroxat, hanno invaso l'armadietto dei medicinali di ogni famiglia..", asseriva la psicanalista, teorica letteraria e filosofa femminista francese di origine bulgara, Julia Kristeva nel suo libro del 1987 - Soleil Noir. Dove attraverso due nitidi percorsi attraversava la questione della depressione come padre della malinconia sin dagli antichi tempi - uno di fatti ci conduce attraverso gli studi di Ippocrate e Aristotele, l'altra parte di come la depressione sia frutto di una trasformazione rivoluzionaria capace di cambiare il pensiero e le forme artistiche.
Malinconia e Depressione, madre e figlia dell'uomo moderno e di quello arcaico - perpetuato nel era moderna per colpa della globalizzazione e del capitalismo, altro che covid 19.
Trentacinque anni dopo questo argomento descritto dalla Kristeva è più insito che mai, le dinamiche son rimaste pressoché invariate a conferire come la panacea di tutti i Mali : é il capitalismo e le sue regole che come un mangiafuoco dai fili invisibili spezza il collo e il fiato dell'uomo di oggi.
Un epilogo che fa da preambolo a " Soleil Noir", un trip oscuro dentro I meandri della nostra psiche, un trip a tre mani, tre artisti del panorama industrial /experimental /drone noise -Boban Ristevski, Petrolio e Anja Kreysing , tre background diversi si uniscono ricordando il libro di Julia Kristeva, e attraverso i loro riverberi, distorsioni, synth psicotici ci traghettano nel profondo di un buco nero suggestivo e melmoso.
Accompagnati dalla Attenuation circuit (Label noise experimental) i tre musicisti attraverso 5 tracce si muovono ed articolano un elettrizzante e
abissale viaggio sonoro catartico.
Attraverso macchine, synth, rumori - producendo distorsioni, riverberi, guizzi sincopati riescono a descrivere la natura in sé per sé delle cose, manipolano suoni come lo scultore manipola la creta per costruire statue, attraverso i guizzi elettronici di Ristevski, Anja nei suoi alternati arpeggi patologici e i synth e noise sanguigni e deviatici di Petrolio, ci prendono per mano in questo viaggio e pio nelle più crude oscurità della nostra anima.
Costruendo un muro alternato fluido, passano da ritmi rigidi che si dissolvono in strati sonori più fluidi, alternati da guizzi sincopati e nevrotici, nel autoptico processo continuo in un crescendo di articolari, distorsioni per sciogliersi in una coltre tetra e malsana.
Attraverso "Soleil Noir 1," questo album parte all'insegna delle emozioni indescrivibili, dove riverberi e modulazione sonora inquieta che ci proietta a "Soleil Noir 2", dove i rumori e i ritmi sono trattati saggiamente a creare un interessante coesione tra pathos e razionalità.
"Soleil Noir 3", dopo un intro costruito sul rumore assuefante dell'acqua che scorre e travolge si tramuta in evoluzione ansiogena di ritmi convulsi in crescendo, "Soleil Noir 4", un feedback di suoni rarefatti e oscuri sono modulati a riproporre l'inferno mentale in tutto e per tutto per concludersi e confluire in "Soleil Noir 5",dove tutto si fa più ciondolante, estremo, catartico e pesante, è l'epilogo di una discesa tra gli arrovellamenti psichici e sociali.
Trovando più che suggestivo questo incontro a tre anime che mettono la propria attenzione e cura per creare qualcosa di denso, corposo.
Credo che un lavoro del genere riesca a coinvolgere a tal punto l'ascoltatore da sentirsi quasi parte dei riverberi, dei guizzi schizzati dei synth.
Un lavoro sapientemente orchestrato dai tre musicisti che confezionano quasi un trattato sul mondo oscuro della mente e delle sue forme una colonna sonora - caratteristica e convulsa del libro della Kristeva.
A metà tra un saggio musicato e la convulsa visione tra i Geography of Hell e i Con Dom .
Devastante sinergia..

www.facebook.com/-TheUndergrounder--484464098628897

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BAD ALCHEMY

Dauerleser Boban RISTEVSKI steckte zwischen Borges und Madame Blavatsky die Nase wohl auch in Julia Kristevas Soleil Noir (ACU 1039) – dt. „Schwarze Sonne. Depression und Melancholie“. Kristeva versteht, so lasse ich mir sagen, Depression als Selbstschutz vor dem Schrecken und den Schmerzen durch Verlust (der Mutter) und Enttäuschung (kein Penis), und dass ein Ausweg aus stummer Verzweiflung und dem Bann der Gefühle darin besteht, sie mutter-sprach-mächtig zu artikulieren. Heiner Müllers Maschinen-Hamlet ist mit seinem Ich will eine Maschine sein, Arme zu greifen, Beine zu gehen, kein Schmerz, kein Gedanke immer noch eine Wunsch-Maschine, eine Textmontage-Maschine und als solche fähig zu Spielzügen. Tonsprache ist eine Spielart davon. In Ristevskis Hom­mage stimmt Anja KREYSING ein mit Akkordeon & Electronics und Enrico Cerrato aka PETROLIO mit Synth, Noises & Machines. Zu dritt lassen sie die 'organische Maschine', zu der wir, zugleich Ross und Reiter, geworden sind, keuchend galoppieren. Der Alb im Nacken presst aus den 'Ventilen' schrille Laute, in humanem Schauder mit metallischen Verschleifungen, körnigem Hagel. Atmen heißt schaudern, vom Mutter-Meer umrauscht, mit allem Tamtam, surrend verbohrt, ad infinitum.

badalchemy.de

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VITAL WEEKLY

I didn't know before, but now I do, that literary influences are important for Boban Ristevski, the electro-acoustic composer (words from the label). For his collaboration with Anja Kreysing (accordion, electronics) and Petrolio (synth, noises, machines), the title comes from a book by Julia Kristeva, "Bulgarian born French psychoanalyst". The book's subtitle is possibly very illuminating, and I don't need to translate it; "dépression et mélancolie". I heard from Kreysing before, also in collaborative spirit (Vital Weekly 1137), but not of Petrolio (not to be confused with the trio of the same name from Vital Weekly 743). I understand that the machines of Petrolio are computers. Still, he prefers them to be machines because he wants a more or less industrial sound. They want to "invoke the idea of the alienating grind of the machinery of everyday life under capitalism that gives ample reason for depression and melancholy". The cover has no clue how the music was made, but I would think (and actually for no good reason) that Kreysing and Petrolo deliver sound material for further use by Ristevski. In his recent work, he brought some extended ambient sound patterns, droning and humming. Still, he opts for a more traditional musique concrète sound for the five pieces here, with granular synthesis playing an important role. They are not exactly rolling down scales, like heavy glissandi, but indeed there is a mechanical repetition; crushed by the wheels of industry. And yet, the music isn't noise based, so in that respect, it is not easily put in the industrial corner. The music is dark and sad throughout, which fits the title, I guess. While the music holds no surprises, nothing new in many ways, I enjoyed it. It's moody and atmospheric yet also with a hint of light. This is precisely the dark ambience with a noise twist that I like.

www.vitalweekly.net/1330.html

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