TELE.S.THERION | Aristocrazia Webzine


Band: Tele.S.Therion
Translation:  Crypt Of Fear
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A few weeks ago we got in contact with the nightmare called Tele.S.Therion thanks to "Luzifers Abschied"; today we'll be able to know better this enigmatic and mysterious creature.


Welcome to Aristocrazia Webzine.

Thank you Aristocrazia.

I'd start by introducing your project to our readers: who and what is Tele.S.Therion? Which entities (humans and not) are hidden behind this monstrous creature?

Tele.S.Therion is an acousmatic music ensemble, born around ten years ago, in the beginning from the collaboration between two sound operators, to which, through some formulas (designed primarily for the purpose of being performed by loudspeaker orchestras) various authors and performers contribute. However for some years a more internal operative circle has been made, from which little to nothing has been made public (this is why the last publications no longer included the specific names but only the roles behind this direction), and with which only the involved authors enter in contact time to time.

The «Acousmatic Black Metal» definition implies that your music is characterized by an overall idea different from traditional music. How was the idea of applying the concept of acousmatic art to the Devil’s music for excellence born?

It‘s born from the study of a compositional and operational methodology based on conceptual principles,linked to the «schola» mysterious echemitia (σιωπη). In concrete it came from the use of timbre and performance inclinations borrowed from musical genres such as Jazz-Rock and Krautrock and especially from the radicalistic of the primitive Blues associating them, we can find in the original Black Metal praxis, which is the interpretative and operative key in Tele.S.Therion, then carried out within a compositional and executive system, linked to practices implemented by the fringes of the avant-garde and contemporary classical music, inspired by the research of Luigi Russolo in the "Art Of Noises", to Karlheinz Stockhausen’s studies of sound spacialization, and to Edgar Varese and his vision of sound as a living matter. The sound experience of Tele.S.Therion is a psycho-physical event centered on a revealing experience in an acousmatic key, thus made of heard events and not of seen objects in order to unchain, (through a diegetic drammatization) during the sound projection, auditory stimuli (pareidolia) that allow the altering of cognitive-perceptual processes in the listener, to bring out imaginative and synaesthetic-subconscious processes.

"Luzifers Abschied" is a title that can only bring to mind Karlheinz Stockhausen's name, an artist who has widely contributed to revolutionize the entire music world. How much his influence is important in Tele.S.Therion and what are your reference points regarding the most avant-garde part of your sound?

Stockhausen doesn’t need introductions, we can add our referencing points in the avant-garde field really embrace a lot of if not all the experiences of the first and second avant-garde (both the one in the highbrow music as the ones coming from counterculture movements) including also the visual and conceptual researches that more radical research currents of non-objective and aniconic art have developed: from the manipulation and staging of sound researches, from studies on phenomenology extra-sound and extra-musical, from less orthodox compositional practices, to studies on fixed music and methods of execution and sound reproduction as active and therefore creative processes.

However, the part purely bound to Black Metal is completely upside down, although mantaining clear contact points with it; what are the bands you get inspiration from in order to create the infernal imaginery proper of this genre?

Surely we are attracted from the origins of this attitude definable Black, Dark and Doom Metal; a research of this sonic phenomena’s roots, its thought-patterns, before it is defined as a musical genre. In any way focusomg on the most influential experiences, as in other occasions, are being cited: Hellhammer, Celtic Frost, early Sodom, Mortuary Drape, Venom, Possessed, Infernal Majesty, Bathory, Necrodeath, Mercyful Fate, Bulldozer, Abruptum, Blapshemy, Von, but even Sunn O))), Mayhem, Burzum, Xasthur, Blut Aus Nord, L’Acephale, Utarm, Black Funeral, MZ412, earliest Samael, Gorgoroth, Anaal Nathrakh, Moëvöt, Amaka Hahina, Aäkon Këëtrëh, and many more authors who moved the borders of this sound paradigm.

Tele.S.Therion uses various collaborators coming from different situations and contexts: how did you choose the musicians to be involved in "Luzifers Abschied"?

In the cocept-album’s phormula, for example, every author is called to set and execute their session, only using a non idiomatic score: the item-sound events/performers presents in the composition, are being unchained-influenced-programmed-directed by a "concrete partiture" executed by the enarmonic bass (based on modulations and combination of timbre density and sound masses of the secondary frequencies, or non-harmonic resonance frequencies) without knowing any other thing. The choice of the character and the timbre of the sound bodies in the Tele.S.Therion’s composition, derive and are a whole with the personalities of the authors involved in the ensamble. To maintain this aspect of independence of every sound-event/performer, every author has been called to execute-himself without knowing who and what the authors would have recorded. In this sense the authors have been chosen on the basis of the linguistic researches which everyone does, regardless of what would happen when the sound-event was recorded.

The minimalistic artwork and the nature of the album itself leave to the listener the task of understanding the meaning of each single sound. What pictures does "Luzifers Abschied" summon in your minds, both creators and audience?

When we talk about listening we must try to broaden a lot our point of view, being able not to attribute to listening the mere meaning of simple hearing. Listening and then the action of playing a Tele.S.Therion album we hope it can be taken as a cue for a profound phenomenological survey, self-observation during the act of perceptual experience. In this sense the sound can be a vehicle…

The words «music for loudspeakers» indicates your music is meant to be heard through speakers; How do you see, however, the live situation for Tele. S. Therion?

There aren‘t the right conditions to be able to put into full operation  this kind of phormula yet, but without raising too much the veil, we can meanwhile say that the idea of a live, in our context, must be translated into a broader conception of public execution, in which the canons of live music and the same concept as author and performer, are in turn violated, or better, redesigned.

Your music gives the idea that you are not really a newbie in the field of music; do you have other projects outside of Tele. S. Therion?

There is no real answer to this question, at least, nothing to talk about in this context.

What artists do you think were important in your music formation?

This would be a too long answer, let’s say, among the classical music, Bach, Mahler, Listz, to name a few, then Howlin‘ Wolf, Robert Johnson, Skip James, as much as the researches develped at Sun Record, then Coleman, Coltrane, Anatoly Vapirov, Lacy, Sun Ra, every tendency in the avantgarde and the radical international electronic music, Groupe De Recherches Musicales (GRM), the ethnomusicology, a lot of the music punlished in England in the times where the Indica bookshop, and the UFO club operats, in Italy, are then seminal the years oft he urlatori and the ones who starts from the studio di fonologio tot he Gruppo di Improvvisazione Nuova Consonanza, but even Progressive and the pioneers of the «dark sound»; the proto-metal scene years, the deutsch Ohr Records, Magma, No.Wave, Samhain, the years of the Belgian L.A.Y.L.A.H. Antirecords, Industrial music, and we could go on and on with the list, but in synthesis the core of our interest remains in the most radical productions starting from th end of the sixties (the years oft he second, and last avantgarde), until more or less, to "Blood Fire Death", "Obsessed By Cruelty", "Into The Macabre", "Doom Return", or "INRI", "De Mysteriis Dom Sathanas", "Evil" or "In Umbra Malitiae Ambulabo…", with rare exceptions in the next years productions.

We are almost at the end of the 2017: are there any album released this year that have struck you particularly?

Paul Chain Violet Theatre – "Detaching From Satan REMASTERED".

Last question: How would you describe the music of Tele. S. Therion to a ninety years old that has no idea what Black Metal, acousmatic music and whatnot are all about?

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Thank you for the time you have dedicated to us, I leave you a last space to give a message to our readers.

Good deep listening.