IÖR TK.XXXVII

Description

Side I:
I Iudex est venturus
II Calamitatis et miseriæ
III In lucem sanctam
IV Descendam in infernum

Side II:
V Sacrificium iustitiæ
VI Kyrie eleison
VII Chorus angelorum
VIII Requiem æterna

Sokushinbutsu Project:

Massimo Mascheroni
synthesizers, sampler, Ronin

Enrico Ponzoni
synthesizers, electric guitar, voice, Uro-pipe

Luca Villa historical-musicological consultancy
Marco Casiraghi Uro-pipe construction
Rosa Lavita Original Artwork and Design
Eliphas Űsher Layout and Graphic Arrangment

Libera nos Domine
A post-industrial Requiem

The “Requiem” or “Missa pro defunctis” is a particular celebration to accompany the faithful into the afterlife. Its first appearance dates back to the 2nd century AD at the dawn of Christianity.

The first testimony of the ritual that has come down to us dates back to the 10th century AD. Initially a monophonic celebration, over the centuries the parts left to Gregorian chant became smaller and composers began to compose increasingly larger polyphonic sections, favoring the motet form.

SOKUSHINBUTSU PROJECT wants to propose a post-industrial vision of the Requiem and its history by combining noise, disturbance and electronics with small excerpts of the most ancient celebrations.

The extracts come from some pieces by Tommaso da Celano, Johannes Ockeghem, Josquin des Prez, Giovanni da Palestrina e Orlando di Lasso.

We are one step away from the Apocalypse and our own self-destruction. Will we be saved?

“Libera me, Domine, de morte æterna,
in die illa tremenda.
Quando cœli movendi sunt et terra
dum veneris judicare sæculum per ignem.”

Industrial Ölocaust Recordings revelavit die XXIII Ianuarii anno MMXXV