Title - Sound of Music
Artist - Zero Times Everything
For those unaware, Zero Times Everything will be releasing their second album Sound of Music on August 28th, 2021.
The album was recorded over the course of three years and then, in the middle of the mixing, the pandemic hit, stopping all work. This caused a delay of over a year.
Indeed, the new release date of this innovative new double album (which is being put together via the indiegogo.com donator campaign platform) coincides with a private concert the band is giving in Massachusetts, just outside of Boston.
Furthermore, on August 21st, 2021 Zero Times Everything (Tony Geballe, Pietro Russino, and Richard Sylvarnes) will release the official video for the 19 minute Die Nacht Ist Leben.
The title Sound of Music is derived from the Pythagorean theory of musica universalis or the music of the spheres wherein Pythagoreas states that if objects in motion create sound then the planets forever in motion must forever produce sound.
This theory has been totally discredited but the notion of the sound of a harmonious planetary-solar-system is the touchstone for the title of the album.
There is also the notion present within the record itself of the dangerous existence of black holes and white holes within this planetary harmony.
The gravity of black holes is so strong that once it pulls matter within it nothing, even light, can get out.
On the opposite extreme, a white hole in space is a hypothetical region that cannot be entered from the outside, although matter and light can escape from it.
Thus, side one is titled Black Hole and side two White Hole. If the theory is that the movement of the stars produces a harmony, then these holes in space create danger within that harmoniousness.
1. You Are Here
2. Razorblade Keychain
3. The Same Flat Field
4. Ice Report
6. Milky Black Sun
7. Sound Tenement
8. Tears In The Waterfall
9. Die Nacht Ist Leben
1. You Are Hearer
2. Third Uncle
4. Two Dead Stars Falling Into A Catastrophic Embrace
5. Lux Aeterna
6. The Sound
Oft described as avant-garde, post-industrial, pre-cambrian, pan-ethnic, serial noise, proto-punk, neocortex music, Zero Times Everything’s sophomore album is chock full of melodious EDM wonderment for the masses.
Tracks such as the opulent, at times translucent, at others jangly and seemingly random studio sounds sewn together from musical remnants, and yet at all times informative, Milky Black Sun combine seamlessly with the self-ordained centerpiece of the album, the near 20 minute blitzkrieg Die Nacht Ist Leben (The Night Is Life).
Stitched together with the spoken words (in German) of Sven Marquardt, the infamous gatekeeper of the notorious Berlin nightclub Berghain, and featuring Reg Bloor on guitar, Bruce McClure and contralto Daria on vocals, diaphanous one minute, screeching, crackling patterns the next, all then give way to cacophonous layered guitars for a journey into raw, extreme, electricized metal.
With the two CDs combining to bring us over two hours of music (and complete with a wondrous 16-page booklet), quite easily the most ambitious track on the album is the 26 minute Lux Aeterna (which has been affectionately called Our Supper’s Ready within their ranks.
On what one would most likely term as apocalyptic music, albeit artistically, and acutely veined with spiritual, political, and scientific terms, the work opens with a recording of the late Frederick Neumann, legendary actor, director and friend of Samuel Beckett, reading The 10 Most Popular Ways for the Word to End (as compiled by scientists at a convention).
As the track plays out along its distinctively dark, unwavering path of EDM plus, the midway point then includes random moments from a 1950’s radio play of Aldous Huxley’s Brave New World, its culmination the somber, yet stoically beautiful apocalyptic liturgical text El Cant de la Sibilla (a Gregorian chant, also known as The Song of the Sibyl).
With the whole recording closing on the somewhat stalwart, hardy, Old West-imbibed soaring resonance of The Sound, it should be made clear that Sound of Music will be the equivalent to a triple album on vinyl; given, as aforementioned, that the band have produced over two hours of music here!
Zero Times Everything began in 2012 when Richard Sylvarnes invited Tony Geballe and Pietro Russino, who first met at one of Robert Fripp’s Guitar Craft Seminars, to perform a live musical accompaniment to a film he had recently completed called The Last Words Of Dutch Schultz.
It was supposed to be a singular event, a project, but it became quite apparent in the early rehearsals that there was much more potential than a simple one-off project.
They immediately began to get invites to play in galleries, at benefit concerts, and even to make music for an artist installation in China.
So, almost without realizing it, they became an official band and started working on material for their first record, Sonic Cinema, which was released to great critical acclaim on Trey Gunn’s 7D Media label in 2017.
When they finished their first album Richard immediately had the brazen idea that their second album should be a double album. He gave two reasons.
One was to experiment, to allow the material to breathe, and not worry about the length of tracks and have to reflexively edit something for reasons of limited space.
The second reason was to invite other musicians, mostly avant garde musicians from New York, to contribute their unique talents to this endeavor; even to the extent of redefining what can be considered Zero Times Everything music.
These artists include extreme-metal guitarist Reg Bloor, avant pianist Matteo Ramon Arevalos, singer Daria Neumann, percussionist Michael Evans, multi-media artist Bradley Eros, guitarist Zach Layton, turntablist and foley artist Rachael Guma, singer Mikey Kirkpatrick, writer Sven Marquardt, film-projector rhythmatist Bruce McClure, composer and Touch guitarist Markus Reuter, vocalist Patricia Rothberg, and writer Sønje Sylvarnes.
As Richard said, We wanted to open the door to Zero Times Everything and allow other artists we greatly admire to participate in making the music and use these collaborations to stretch the definition of what Zero Times Everything music can be.
Each of these unique and extraordinary artists have a strong sensibility and signature sound that deeply affected not only the overall sound of a piece but the compositions themselves.
Zero Times Everything thanks its audience for their support which allows them to make adventurous, artistically ambitious, non-mainstream music that thrives on the fringe of culture.
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