TSIDMZ
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Saradnja započeta našom recenzijom albuma "Ungern von Sternberg Khan" , nastavljena je intervjuom, koji je Sol Mutti, virtuoz i umetnik koji stoji iza projekta TSIDMZ, dao za naš Celtic - Slavic Webzine Serbia.
Saradnja započeta našom recenzijom albuma "Ungern von Sternberg Khan" , nastavljena je intervjuom, koji je Sol Mutti, virtuoz i umetnik koji stoji iza projekta TSIDMZ, dao za naš Celtic - Slavic Webzine Serbia.
1. Zbog čega naziv TSIDMZ? Kako je nastala ta ideja?
Sol: Želim da dam celu moju biografiju da bi bolje razumeli duh projekta.
"Danas nismo toliko u ratu protiv jednog naroda, protiv fenomena, protiv stranke ili političke ideje, već protiv pojave novog i strašnog eona, kao eona koji će počistiti tradicije, obrnuće vrednosti, uništiće i zameniće duboku, pravu i duhovnu suštinu ljudskog bića sa lažnim, niskim i demonskim identitetom. Kao posledica mi moramo biti Futuristi: gledamo u budućnost i na tehniku, kao kontinuitet u odnosu na prošlost i tradiciju."
TSIDMZ je italijanski post/atomic, elektro/martial projekat sa brojnim uticajima iz različitih žanrova u oblasti elektronske muzike. Rođen je i zamišljen između 2002. i 2007. godine (godina kada je prvi put produciran). Njegova svrha je da bude što je moguće više ekletičan, ostajući veran svom cilju. Iz tog razloga TSIDMZ je uvek uključen u saradnju sa drugim muzičarima, uključujući nastupe i zajedničke pesme i uvek će nastaviti u tom pravcu. TSIDMZ je potpisao i izdao za muzičke kuće kao: Old Europa Café, Ufa Muzak, SkullLine i mnoge druge.
TSIDMZ označava THULESEHNSUCHT IN DER MASCHINENZEIT, tačnije sehnsucht (nostalgija) za Tulom u Vremenskoj Mašini. Tula je "iskonski prostor", fizički mesto verovatno, ali metafizički jedan nesumnjivo. Prema indoevropskoj mitologiji, indoevropski narodi, koji su nekada naseljavali zemlje Evroazije su potomci Tule, poslednje zemlje koja je ostala od kontinenta Hiperboreje. Vrlo kratko i grubo rečeno, možemo reći da je Tula ekvivalent biblijskom Raju. To je mesto originalnog "savršenstva", mesto predaka i junaka, koji su živeli u blizini božanskom. TSIDMZ izražava upravo ovu vrstu nostalgije, i iz pesimističke tačke gledišta, što znači "odsustvo", i od konstruktivne tačke gledišta, što znači nova dostignuća. Ovaj novi uspeh je onda da budu ispunjeni u naše vreme, “In Der Maschinenzeit”. Da li je moguće da se ostvari fer, uzvišeno, "duhovno" društvo u post/atomskom dobu? Da li je moguće kombinovati Mašinu sa Tradicijom? Prema TSIDMZ, neki mogući odgovor je da se nalazi u Futurizmu na umetničkom i kulturnom nivou, dok je u socijalizmu na političkom i društvenom nivou. Kao posledica toga, elektronska muzika i svaki oblik "industrijske" umetnosti postaje imperativ. Što se tiče socijalnog i političkog nivoa, taj Novi Čovek mora više da bude gospodar Mašine, a ne rob ili žrtva. Takođe na kulturnom nivou Novi Čovek mora da se integriše sa Mašinom, koja treba da postane deo ove nove kulture u cilju nastavka tradicionalnih vrednosti sa novim alatom. Kao rezultat toga, to će stvoriti umetničku i estetsku identifikaciju, koja će dati novi identitet Radniku (Arbeiter), kao što je Junger shvatio (Radnik je po konceptu E. Jungera koncept o Novom Čoveku, koji kombinuje tehniku i asketsku/metafizičku viziju).
''THE TECHNIQUE IS THE MEAN BY WHICH THE FIGURE OF THE WORKER MOBILIZES THE WORLD'' E. JUNGER
Kao koncept TSIDMZ uživa u Evroazijskoj ideji, konceptu i temi: društvene ravnoteže, prevazilaženje svake ideologije, metalopolitičke i metafizičkog pogleda u svet da povrate večnost u post-modernosti.
Sol: Želim da dam celu moju biografiju da bi bolje razumeli duh projekta.
"Danas nismo toliko u ratu protiv jednog naroda, protiv fenomena, protiv stranke ili političke ideje, već protiv pojave novog i strašnog eona, kao eona koji će počistiti tradicije, obrnuće vrednosti, uništiće i zameniće duboku, pravu i duhovnu suštinu ljudskog bića sa lažnim, niskim i demonskim identitetom. Kao posledica mi moramo biti Futuristi: gledamo u budućnost i na tehniku, kao kontinuitet u odnosu na prošlost i tradiciju."
TSIDMZ je italijanski post/atomic, elektro/martial projekat sa brojnim uticajima iz različitih žanrova u oblasti elektronske muzike. Rođen je i zamišljen između 2002. i 2007. godine (godina kada je prvi put produciran). Njegova svrha je da bude što je moguće više ekletičan, ostajući veran svom cilju. Iz tog razloga TSIDMZ je uvek uključen u saradnju sa drugim muzičarima, uključujući nastupe i zajedničke pesme i uvek će nastaviti u tom pravcu. TSIDMZ je potpisao i izdao za muzičke kuće kao: Old Europa Café, Ufa Muzak, SkullLine i mnoge druge.
TSIDMZ označava THULESEHNSUCHT IN DER MASCHINENZEIT, tačnije sehnsucht (nostalgija) za Tulom u Vremenskoj Mašini. Tula je "iskonski prostor", fizički mesto verovatno, ali metafizički jedan nesumnjivo. Prema indoevropskoj mitologiji, indoevropski narodi, koji su nekada naseljavali zemlje Evroazije su potomci Tule, poslednje zemlje koja je ostala od kontinenta Hiperboreje. Vrlo kratko i grubo rečeno, možemo reći da je Tula ekvivalent biblijskom Raju. To je mesto originalnog "savršenstva", mesto predaka i junaka, koji su živeli u blizini božanskom. TSIDMZ izražava upravo ovu vrstu nostalgije, i iz pesimističke tačke gledišta, što znači "odsustvo", i od konstruktivne tačke gledišta, što znači nova dostignuća. Ovaj novi uspeh je onda da budu ispunjeni u naše vreme, “In Der Maschinenzeit”. Da li je moguće da se ostvari fer, uzvišeno, "duhovno" društvo u post/atomskom dobu? Da li je moguće kombinovati Mašinu sa Tradicijom? Prema TSIDMZ, neki mogući odgovor je da se nalazi u Futurizmu na umetničkom i kulturnom nivou, dok je u socijalizmu na političkom i društvenom nivou. Kao posledica toga, elektronska muzika i svaki oblik "industrijske" umetnosti postaje imperativ. Što se tiče socijalnog i političkog nivoa, taj Novi Čovek mora više da bude gospodar Mašine, a ne rob ili žrtva. Takođe na kulturnom nivou Novi Čovek mora da se integriše sa Mašinom, koja treba da postane deo ove nove kulture u cilju nastavka tradicionalnih vrednosti sa novim alatom. Kao rezultat toga, to će stvoriti umetničku i estetsku identifikaciju, koja će dati novi identitet Radniku (Arbeiter), kao što je Junger shvatio (Radnik je po konceptu E. Jungera koncept o Novom Čoveku, koji kombinuje tehniku i asketsku/metafizičku viziju).
''THE TECHNIQUE IS THE MEAN BY WHICH THE FIGURE OF THE WORKER MOBILIZES THE WORLD'' E. JUNGER
Kao koncept TSIDMZ uživa u Evroazijskoj ideji, konceptu i temi: društvene ravnoteže, prevazilaženje svake ideologije, metalopolitičke i metafizičkog pogleda u svet da povrate večnost u post-modernosti.
2. Tvoj muzički pravac definišeš kao post-industrial, elektro-martial,
experimental, ambient. Kako je došlo do toga? Šta je uticalo na to?
Sol: Glavni problem u mojoj muzici je definicija. Pre svega zato što ne volim etikete (etikete su dobre samo za novinare); etikete, kao i ideologija i kao i svake šeme, kao svaka brza definicija, stavi predmet u malu kutiju iz kojeg nakon nekog vremena bude zaista teško pobeći. Zatvoren u šemu, to je stvarno lako da predmet počne da gubi svoju složenost i mogućnost da se uzmu elementi i ideje iz više od jednog dela. Šema je samo jedna velika redukcija, ne pametna granica. Zato što imam toliko muzičkih strasti, muzičkih uticaja i volje da sve njih iskoristim, počinje zaista da bude teško da samo jedna reč definiše ceo projekat. Ali znam da je osnovna definicija korisna i da može pomoći da razumeju u najmanju ruku početnu tačku projekta; tako da sam uzeo četiri glavna muzička žanra da oslikavaju TSIDMZ; i ono što ja slušam; martial muziku, noise/dark ambient, experimental-industrial muziku i elektronsku muziku (od Stockhausen-a, do Kraftwerk-a, Laibach-a, EBM, tehno muzike i tako dalje..). Stavio sam ih zajedno u jedan kratak slogan, koji i dalje ostaje restriktivna, ali to je barem malo više nego što je jednostavna muzička definicija. Ovaj slogan je sastavljen od četiri muzičkih imena žanrova, sa više dodavanja "post-industrial" definicije. Post-industrial, zato jer miksujem industrial muziku, jedan od razloga zašto se i bavim muzikom, sa mnogim drugim elementima, i zato što uostalom danas živimo u goroj eri, "post" eri; post-industrijske sigurno, post-buržujskom i post-modernom; Ako se u prethodnom periodu govorilo "Bog je mrtav", sada je On definitvno sahranjen.
Sol: Glavni problem u mojoj muzici je definicija. Pre svega zato što ne volim etikete (etikete su dobre samo za novinare); etikete, kao i ideologija i kao i svake šeme, kao svaka brza definicija, stavi predmet u malu kutiju iz kojeg nakon nekog vremena bude zaista teško pobeći. Zatvoren u šemu, to je stvarno lako da predmet počne da gubi svoju složenost i mogućnost da se uzmu elementi i ideje iz više od jednog dela. Šema je samo jedna velika redukcija, ne pametna granica. Zato što imam toliko muzičkih strasti, muzičkih uticaja i volje da sve njih iskoristim, počinje zaista da bude teško da samo jedna reč definiše ceo projekat. Ali znam da je osnovna definicija korisna i da može pomoći da razumeju u najmanju ruku početnu tačku projekta; tako da sam uzeo četiri glavna muzička žanra da oslikavaju TSIDMZ; i ono što ja slušam; martial muziku, noise/dark ambient, experimental-industrial muziku i elektronsku muziku (od Stockhausen-a, do Kraftwerk-a, Laibach-a, EBM, tehno muzike i tako dalje..). Stavio sam ih zajedno u jedan kratak slogan, koji i dalje ostaje restriktivna, ali to je barem malo više nego što je jednostavna muzička definicija. Ovaj slogan je sastavljen od četiri muzičkih imena žanrova, sa više dodavanja "post-industrial" definicije. Post-industrial, zato jer miksujem industrial muziku, jedan od razloga zašto se i bavim muzikom, sa mnogim drugim elementima, i zato što uostalom danas živimo u goroj eri, "post" eri; post-industrijske sigurno, post-buržujskom i post-modernom; Ako se u prethodnom periodu govorilo "Bog je mrtav", sada je On definitvno sahranjen.
3. Album "Pax Deorum Hominumque", fantastično je prihvaćen kod publike, što je bilo i za očekivati. Prošle godine izašao je novi i poslednji album "Ungern von Sternberg Khan". Kako si ti zadovoljan njime?
Sol: "Ungern von Sternberg Khan" je drugi deo trilogije o Evroaziji. Misli da je ovo drugo poglavlje imalo mnogo više pažnje nego "Pax Deorum Hominumque", koji je imao veoma dobru pažnju i na najbolji način pripremio put za drugi deo trilogije. Mislim da je jedan od razloga veoma dobrog uspeha poslednjeg albuma, zbog same teme na albumu, to je sigurno uhvatilo pažnju mnogo više nego druge teme i druge estetike, i zato što sam radio za boljim balansom između mnogih muzičkih elemenata i različitih stilova, koji utiču na mene i koje želim da mešam i spojim u jedno.
Za početak naredne godine nadam se da će biti spreman i treći deo ove trilogije.
Sol: "Ungern von Sternberg Khan" je drugi deo trilogije o Evroaziji. Misli da je ovo drugo poglavlje imalo mnogo više pažnje nego "Pax Deorum Hominumque", koji je imao veoma dobru pažnju i na najbolji način pripremio put za drugi deo trilogije. Mislim da je jedan od razloga veoma dobrog uspeha poslednjeg albuma, zbog same teme na albumu, to je sigurno uhvatilo pažnju mnogo više nego druge teme i druge estetike, i zato što sam radio za boljim balansom između mnogih muzičkih elemenata i različitih stilova, koji utiču na mene i koje želim da mešam i spojim u jedno.
Za početak naredne godine nadam se da će biti spreman i treći deo ove trilogije.
4. Često sarađuješ sa drugim izvođačima i zdajete split albume. Kakva su iskustva iz svega toga? Hoćeš li i dalje istraživati muziku i sa drugim izvođačima i umetnicima, deliti je slušaocima?
Sol: Svaka saradnja je šansa da se poboljša, da se obogati svoj stil i da se predloži nešto originalno i nestandardizovano. Svaka saradnja je prilika da se sretnu i upoznaju umetnici i da žele da dele sa mnom deo mog puta, moje muzike i mog života sa nekim ko je odlučio da pomogne ideje i svet TSIDMZ-a. U budućnosti želim da nastavim na ovaj način naravno, a posebno želim više da radim EAA (Euroasian Artists Association) umetnicima.
Sol: Svaka saradnja je šansa da se poboljša, da se obogati svoj stil i da se predloži nešto originalno i nestandardizovano. Svaka saradnja je prilika da se sretnu i upoznaju umetnici i da žele da dele sa mnom deo mog puta, moje muzike i mog života sa nekim ko je odlučio da pomogne ideje i svet TSIDMZ-a. U budućnosti želim da nastavim na ovaj način naravno, a posebno želim više da radim EAA (Euroasian Artists Association) umetnicima.
5. Posebna saradnja uspostavljena je sa srpskim piscem Borisom Nadom, koji je bio i tekstopisac na tvom mini singlu (EP) "Sailing to Itaca". Hoćeš li naše čitaoce upoznati više sa tom saradnjom?
Sol: "Itaca", tekst objavljen na poslednjem albumu i na mini albumu "Itaca", napisan je od strane srpskog književnika Borisa Nada. Upoznao sam ga čitajući članke sa interneta na njegovom blogu. Stupili smo u kontakt kada sam snimao poslednji album i to je bila velika sreća; pre svega, jer sam upoznao zaista prijatnu i druželjubivu osobu, sa velikom strašću za muzikom i velikog vizionara. Onda zato što je potreban tekst za ovu pesmu, ali sam i dalje imao sumnje o glavnim temama za pesmu, a posebno o tesktu. Bio sam blizu da završim bazu sa dragocenim gostom Corazzata Valdemone, ali još nije bila jasna ideja o temi. Onda sam se setio da nekoliko nedelja pre, Boris mi je poslao neke tekstove i pesme iz njegovih kompozicija. Odmah, pročitao sam pesmu Itaca i shvatio da je to bila prava tema, kako za koncept albuma i za samu muzičku bazu. Glas Gabriela iz Corazzata Valdemone-a uradio je ostalo.
Sol: "Itaca", tekst objavljen na poslednjem albumu i na mini albumu "Itaca", napisan je od strane srpskog književnika Borisa Nada. Upoznao sam ga čitajući članke sa interneta na njegovom blogu. Stupili smo u kontakt kada sam snimao poslednji album i to je bila velika sreća; pre svega, jer sam upoznao zaista prijatnu i druželjubivu osobu, sa velikom strašću za muzikom i velikog vizionara. Onda zato što je potreban tekst za ovu pesmu, ali sam i dalje imao sumnje o glavnim temama za pesmu, a posebno o tesktu. Bio sam blizu da završim bazu sa dragocenim gostom Corazzata Valdemone, ali još nije bila jasna ideja o temi. Onda sam se setio da nekoliko nedelja pre, Boris mi je poslao neke tekstove i pesme iz njegovih kompozicija. Odmah, pročitao sam pesmu Itaca i shvatio da je to bila prava tema, kako za koncept albuma i za samu muzičku bazu. Glas Gabriela iz Corazzata Valdemone-a uradio je ostalo.
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6. Šta za tebe muzika predstavlja?
Sol: Umetnost vam daje priliku da uzmente najbolje iz svake ideologije, svakog stila i svake filozofije, bez da se identifikujete kao zamka za sebe u jednoj od toga.
Sol: Umetnost vam daje priliku da uzmente najbolje iz svake ideologije, svakog stila i svake filozofije, bez da se identifikujete kao zamka za sebe u jednoj od toga.
7. TSIDMZ je član EAA. U Srbiji mali broj ljudi upoznat je sa pojmom EAA, s toga možeš li nam nešto više reći o samoj EAA?
Sol: Pre svega želeo bih da ti se zahvalim za tvoju prezentaciju, za tvoju strast i tvoju podršku. Hvala u ime svih EAA umetnika.
Evroazijska Asocijacija Umetnika (Eurasian Artists Association) je zvanična grupa, odobrena od Aleksandra Dugina, rođena od ideje mene i nemačkog folk pevača Sonnenkind-a. Kao što je navedeno u fejsbuk stranici: "Evroazijska Asocijacija Umetnika obuhvata umetnike (pisce, slikare, muzičare različitih žanrova), koji zvanično podržavaju Evroazijsku ideju metafizičkog pravog puta istorije i ideju multipolarnog sveta kultura i tradicija protiv post-modernog kriminaltiteta." EAA podržava ove umetnike i njihove radove u cilju stvaranja još otpora u umetnosti protiv propadanja post-modernog sveta.
Sol: Pre svega želeo bih da ti se zahvalim za tvoju prezentaciju, za tvoju strast i tvoju podršku. Hvala u ime svih EAA umetnika.
Evroazijska Asocijacija Umetnika (Eurasian Artists Association) je zvanična grupa, odobrena od Aleksandra Dugina, rođena od ideje mene i nemačkog folk pevača Sonnenkind-a. Kao što je navedeno u fejsbuk stranici: "Evroazijska Asocijacija Umetnika obuhvata umetnike (pisce, slikare, muzičare različitih žanrova), koji zvanično podržavaju Evroazijsku ideju metafizičkog pravog puta istorije i ideju multipolarnog sveta kultura i tradicija protiv post-modernog kriminaltiteta." EAA podržava ove umetnike i njihove radove u cilju stvaranja još otpora u umetnosti protiv propadanja post-modernog sveta.
8. Može li se muzikom protiv politike, post-Moderne i globalizma?
Sol: Umetnost, ili muzika, je od suštinskog značaja. Umetnost je ogledalo vremena, umetnost izražava vrednosti, a donosi duh, koji može biti božanski ili demonski. Kroz umetnost ili estetiku, brzo i lako se širi ideja, tema ili princip. Sa tradicionalne ili religijske tačke gledišta, umetnost je korisna za ličnu satisfakciju, pomaže da meditirate, razmišljate, poboljšate, da utičete na sredinu oko sebe. To je alhemijski proces unutrašnje i spoljašnje transformacije; transformacije koja ne zavisi direktno od malog ili velikog interesovanja/učešća ljudi (naravno interes i učešće su važni, ali oni nisu prvi i najvažniji element). Umetnost je alat, koji pokušava da dovede "realnost", u platonske hiper-uranij ideje (koje su delo cele Istine). Tako da umetnik ne postoji kao prvi izvor, i kao prvi koren rada koji čini. On je samo kanal, on ne "izmišlja". On će samo dovesti u pitanje Ideju, kako je on vidi i koliko je vidi. na primer u staroj grčkoj poemi "Ilijada", Homer pita Muze da mu kažu o čemu da peva ("Pevaj, boginja, o gnevu sina Pelejeva, Ahila i razaranju.."); to je Bog ili nešto metafizičko, koje koriste pesnika da izrazi nešto i jasno je da je pesnik alat koji se ne može stvoriti, ali može filter. Zakon Kali - Yuga, kaze da viševremenski tokovi i sve više i više ljudi propadaju, tako da mislim da će božanska ili duhovna umetnost uvek biti manja (više umetnik može gledati "ideju" u svom savršenstvu, a umetnost više da postane duhovna i božanska) ili će dodirnuti uvek manje ljudi, ali ne mogu da umru i da će uvek biti najviše važni sredstvo da gledaju savršenstvo (Platonske ideje) i da se odupru protiv modernog nihilizma...
Sol: Umetnost, ili muzika, je od suštinskog značaja. Umetnost je ogledalo vremena, umetnost izražava vrednosti, a donosi duh, koji može biti božanski ili demonski. Kroz umetnost ili estetiku, brzo i lako se širi ideja, tema ili princip. Sa tradicionalne ili religijske tačke gledišta, umetnost je korisna za ličnu satisfakciju, pomaže da meditirate, razmišljate, poboljšate, da utičete na sredinu oko sebe. To je alhemijski proces unutrašnje i spoljašnje transformacije; transformacije koja ne zavisi direktno od malog ili velikog interesovanja/učešća ljudi (naravno interes i učešće su važni, ali oni nisu prvi i najvažniji element). Umetnost je alat, koji pokušava da dovede "realnost", u platonske hiper-uranij ideje (koje su delo cele Istine). Tako da umetnik ne postoji kao prvi izvor, i kao prvi koren rada koji čini. On je samo kanal, on ne "izmišlja". On će samo dovesti u pitanje Ideju, kako je on vidi i koliko je vidi. na primer u staroj grčkoj poemi "Ilijada", Homer pita Muze da mu kažu o čemu da peva ("Pevaj, boginja, o gnevu sina Pelejeva, Ahila i razaranju.."); to je Bog ili nešto metafizičko, koje koriste pesnika da izrazi nešto i jasno je da je pesnik alat koji se ne može stvoriti, ali može filter. Zakon Kali - Yuga, kaze da viševremenski tokovi i sve više i više ljudi propadaju, tako da mislim da će božanska ili duhovna umetnost uvek biti manja (više umetnik može gledati "ideju" u svom savršenstvu, a umetnost više da postane duhovna i božanska) ili će dodirnuti uvek manje ljudi, ali ne mogu da umru i da će uvek biti najviše važni sredstvo da gledaju savršenstvo (Platonske ideje) i da se odupru protiv modernog nihilizma...
9. Neko gostovanje u Srbiji?
Sol: Bilo bi sjajno svirati u Srbiji. Muzika ili umetnost uopšte su dobra pomoć za podršku ideje, to ih jača i daje im estetiku; živ nastup, ali generalno u fizičkoj prezentaciji obično je najbolji korak napred u širenju, deljenju i direktnom dodiru sa publikom.
Sol: Bilo bi sjajno svirati u Srbiji. Muzika ili umetnost uopšte su dobra pomoć za podršku ideje, to ih jača i daje im estetiku; živ nastup, ali generalno u fizičkoj prezentaciji obično je najbolji korak napred u širenju, deljenju i direktnom dodiru sa publikom.
10. I za kraj šta bi poručio čitaocima u Srbiji?
Sol: Putem interneta i muzike imao sam priliku da sretnem mnogo divnih ljudi u Srbiji. Primetio sam da su zaista prijateljski, fini i strastveni ljudi. Srbija je mnogo patila zbog Novog Svetskog Poretka, i sada uz diktaturu EU, možda i više nego ranije. Tako da mislim da je ovo važan razlog zašto nalazim tamo dosta pažnje i teme za moju muziku.
Sol: Putem interneta i muzike imao sam priliku da sretnem mnogo divnih ljudi u Srbiji. Primetio sam da su zaista prijateljski, fini i strastveni ljudi. Srbija je mnogo patila zbog Novog Svetskog Poretka, i sada uz diktaturu EU, možda i više nego ranije. Tako da mislim da je ovo važan razlog zašto nalazim tamo dosta pažnje i teme za moju muziku.
Cooperation started our album reviews "Ungern von Sternberg Khan," continued the interview, which is Sol Mutti, virtuoso and artist behind the project TSIDMZ, given for our Celtic - Slavic Webzine Serbia.
1. Why the name
TSIDMZ? When and how was came that idea?
Sol: I want to bring my whole biography to make better understand the spirit of the project. “Nowadays we are not so much at war against a nation, against a phenomenon, against a party or a political idea, but rather against the emergence of a new and scary aeon, an aeon that will sweep away traditions, will invert values, will annihilate and will replace the deep, real and spiritual essence of human being with fake, low and demonic identities. As consequence we need to be Futurists: watching to the future and to the technique as a continuation in respect to the past and to the Tradition”.
TSIDMZ is an Italian post-atomic/electro-martial project with numerous influences from various genres within the field of Electronic Music. It was born and conceived between 2002 and 2007 (the year when it was first produced). Its purpose is to be as eclectic as possible while remaining faithful to its aim. For this reason TSIDMZ has always been involved in collaborations with other musicians, including appearances and track collaborations etc and will always continue along this working template.TSIDMZ has signed and released with musical labels as: Old Europa Café, Ufa Muzak, SkullLine and much more.
TSIDMZ stands for THULESEHNSUCHT IN DER MASCHINENZEIT, that is to say sehnsucht (nostalgia) for Thule in Machine Times. Thule is a "primordial space", a physical place probably, but a metaphysical one undoubtedly. According to the indo-european mythology, indoeuropean peoples who once inhabited the lands of Eurasia were descended from Thule, the last land remained of the continent Iperborea. Very briefly and roughly speaking, we can say that Thule is the equivalent of the biblical Eden. According to TSIDMZ, some possible answer is to be found in the Futurism on an artistic and cultural level, while in Socialism, on a political and social level. As a consequence, electronic music and ever It is the place of the original "perfection", the place of the ancestors and heroes who lived close to the divine. TSIDMZ expresses exactly this sort of nostalgia both from a pessimistic point of view, meaning 'absence', and from a constructive point of view, meaning a new accomplishment. This new accomplishment has then to be fulfilled in our times, “In Der Maschinenzeit”. Is it possible to realize a fair, sublime, “spiritual” society in the post-atomic era? Is it possible to combine the machine with the Tradition?y form of “industrial” art becomes imperative. As far as the social and the political levels are concerned, this New Man has to be a master of the machine, and not a slave or a victim anymore. Likewise, on a cultural level the New Man needs to integrate with the machine, which has to become part of this new culture in order to continue the traditional values with this new tool. As a result, this will create an artistic and aesthetic identification, which will give a new identity appropriate to the Arbeiter, as Jünger understood it (the Arbeiter is the E. Junger concept about a New Man that combines technique and ascetic / metaphysical vision).
''THE TECHNIQUE IS THE MEAN BY WHICH THE FIGURE OF THE WORKER MOBILIZES THE WORLD'' E. JUNGER
As consequence TSIDMZ enjoyed the Eurasian idea, concept and theme: social equilibrium, overcoming of every ideology, a metapolitical and metaphysical weltanschauung to regain the Eternity in the post-modernity.
2. You define your music as post-industrial, elektro-martial, experimental, ambient. What is the impact of that?
Sol: The main problem of my music is the definition. First of all because I don’t love labels (labels are good only for the journalists); labels, as ideologies or as every scheme or as every fast self-definition, trap the subject in a little box, from the one, after some time, start to be really difficult to escape. Closed in a scheme, it’ s really easy that the subject start to lose his own complexity and the possibility to take elements and ideas from more than one part. The scheme is only a very deep reduction, a not clever limit. Then because I have so many musical passions, musical influences and will to mix all of them and to give space to all them, starts to be really difficult to give only one definition-word to the whole project. But I know that a basic definition is useful and can help to understand at least the starting point of the project; so I took the four main styles that more influenced TSIDMZ and more I listen from I was little: martial music, noise / dark-ambient, experimental-industrial music and electronic music (from Stockhausen, to Kraftwerk, to Laibach to EBM to techno etc.). I put them together in a single short slogan, that still remains restrictive, but that at least is a little bit more articulated than the usual single musical definition. This slogan is composed by four musical styles names, more the addition of the “post-industrial” definition. Post-Industrial because I mix industrial music, that is the main style from the one I start to play music, with many other elements, and because nowadays we leave in the worse era, the “post” era; post-industrial for sure, post- bourgeois and post-modern: if in the previous era “God was dead”, now He is definitely buried.
3. Album Pax Deorum Hominumque was well received by the audience, which was to be expected. Last year, has a new and last album Ungern von Sternberg Khan! How are you satisfied with him?
Sol: “Ungern von Sternberg Khan” is the second part of my trilogy about the Eurasian concept. I think that this second chapter had much more attention than “Pax Deorum Hominumque”, that had anyway a very good attention and prepared at the best the way for the second part of the trilogy. I think that one reason of the very good success of “Ungern von Sternberg Khan” cd is because of the cd theme, that for sure catch the attention much more than many other themes or other aesthetics, and because I worked with a better balance among the many musical elements and different styles that influence me and that usually I want to mix and bring together. For the beginning of the next year I hope to be ready with the third part of this trilogy.
4. Often collaborate with other artists and publish split albums. What are your experiences of this cooperation? Will you continue to explore music with other musicians and artists that you'll be sharing the listeners?
Sol: Every collaboration is a chance to improve, to enrich my style and to propose something original and not standardized. Every collaboration is an opportunity to meet and to know better the artist with the one I decided to work and to share a piece of my weltanschauung, of my music and of my life with someone who decided to help TSIDMZ world and ideas. In the future I want to continue in this way of course, and especially I would like to work more with the EAA (Eurasian Artists Association) artists.
5. Special cooperation has been established with a Serbian writer Boris Nad, who was the lyricist on your new mini single EP Sailing to Itaca. Do you want tell our readers something more of this collaboration?
Sol: The “Itaca” text released in the last TSIDMZ cd “Ungern Von Sternberg Khan” and in the mini cd called “Itaca” (http://www.discogs.com/TSIDMZ-Featuring-Boris-Nad-Sailing-To-Itaca/release/5889620 ), was written by the serbian Poet Bori Nad. I met him reading around the web some articles from his blog. We get in touch when I was recording “Ungern Von Sternberg Khan” cd and this was a big luck; first of all because I met a really nice and friendly person, with a big passion for music, and with a great visionary taste. Then because I needed a text for this song, but I had still doubts about the main theme for the track and especially about the text. I was close to finish the musical base with a precious guest like Corazzata Valdemone, but still not a clear idea about the topic. Then I remembered that some weeks before, Boris had sent me some writings and poems from his compositions. Immediately, reading Itaca poem, I understood that it was the right theme, both for the cd concept than for the musical base itself. The great voice of Gabriele from Corazzata Valdemone did the rest.
6. What is the music for you ? In which way music define you?
Sol: Art gives you the opportunity to take the best from every ideology, from every idea, from every style and every philosophy, without necessarily identify or trap yourself in one of them.
7. TSIDMZ is member of Eurasian Artists Association. In Serbia, a small number of people are introduced with the concept of EAA, can you tell us more about the EAA?
Sol: First of all I would like to thank you for your presentation, for your passion and for your support. I thank you also on behalf of all the EAA artists. The EAA is an official group, approved by A. Dugin, born from an idea of mine and the german neofolk singer Sonnenkind. As it is stated in the Facebook page “The Eurasian Artists Association includes artists (writers, painters, musicians of different genres) who officially support the Eurasian idea of a metaphysical weltanschauung of the history and the idea of a multipolar world of cultures and traditions against the post-modern globalist criminality”. ( https://www.facebook.com/EurasianArtistsAssociation ) The EAA support these artists and their works in order to create even in art a resistance against the decay of the post-modern world.
8. Can the music, fight against politics, post modern and globalization?
Sol: Art, or music, is essential. Art is a mirror of the times, art expresses values, and brings also a spirit that can be divine or demoniac. Through art and aesthetics it is more fast and more easy to spread an idea, a theme or a principle. From a Traditional and religious point of view, Art is useful for the own personal growth, helps to meditate, to contemplate, to improve and then subsequently to influence the environment where the “opera” arrives. It is an alchemical process of inner and outer transformation; transformation that is not directly dependent on a small or large interest/participation of the people (of course interest and participation are important, but they are not the first and most important element). Art is a tool that try to bring inside the “reality”, inside the matter, the Platonic hyper-uranic Ideas (that are parts of the whole Truth). So the artist doesn’t exist as first source and as first root of the work he does. He is only a channel, he doesn’t “invent”. He just bring inside the matter an Idea, as well as he can see it and how much he can see it. For ex. in the old Greek poem Iliad, Homer asks to the Muse “to tell” him about the theme he would like to sing (“Sing, goddess, the anger of Peleus' son Achilles and its devastation, …”); it’s a God or someone metaphysical who use the poet to express something and it’s clear that the poet is a tool that cannot create, but can just filter. The Kali-Yuga law says that more the time flows and more and more people degenerate, so I think that divine or spiritual art will be always less (more the artist can “watch” the Idea in his perfection, and more the art become spiritual and divine) or will touch always less people, but cannot die and will be always the most valid tool to watch the perfection (Platonic Ideas) and to resist against the modern nihilism..
9. A concert in Serbia, perhaps?
Sol: Would be great to play in Serbia. Music or art in general are a good help to support ideas, to make them stronger and to give them an aesthetics; a live show, but in general a physical presentation, is usually one of the best chance to spread, to share and to have a direct confrontation with the audience.
10. And in the end what will you told readers in Serbia?
Sol: Through internet and music I had the chance to meet virtually lot of great people in Serbia. I noticed there are really friendly, nice and passionate people. Serbia suffered a lot because of the New Western Disorder, and now, with the EU dictatorship, maybe more than before. So I think this is an important reason why I found there a lot of attention in my music and themes.
http://www.reverbnation.com/tsidmz
https://www.facebook.com/Tsidmz
Sol: I want to bring my whole biography to make better understand the spirit of the project. “Nowadays we are not so much at war against a nation, against a phenomenon, against a party or a political idea, but rather against the emergence of a new and scary aeon, an aeon that will sweep away traditions, will invert values, will annihilate and will replace the deep, real and spiritual essence of human being with fake, low and demonic identities. As consequence we need to be Futurists: watching to the future and to the technique as a continuation in respect to the past and to the Tradition”.
TSIDMZ is an Italian post-atomic/electro-martial project with numerous influences from various genres within the field of Electronic Music. It was born and conceived between 2002 and 2007 (the year when it was first produced). Its purpose is to be as eclectic as possible while remaining faithful to its aim. For this reason TSIDMZ has always been involved in collaborations with other musicians, including appearances and track collaborations etc and will always continue along this working template.TSIDMZ has signed and released with musical labels as: Old Europa Café, Ufa Muzak, SkullLine and much more.
TSIDMZ stands for THULESEHNSUCHT IN DER MASCHINENZEIT, that is to say sehnsucht (nostalgia) for Thule in Machine Times. Thule is a "primordial space", a physical place probably, but a metaphysical one undoubtedly. According to the indo-european mythology, indoeuropean peoples who once inhabited the lands of Eurasia were descended from Thule, the last land remained of the continent Iperborea. Very briefly and roughly speaking, we can say that Thule is the equivalent of the biblical Eden. According to TSIDMZ, some possible answer is to be found in the Futurism on an artistic and cultural level, while in Socialism, on a political and social level. As a consequence, electronic music and ever It is the place of the original "perfection", the place of the ancestors and heroes who lived close to the divine. TSIDMZ expresses exactly this sort of nostalgia both from a pessimistic point of view, meaning 'absence', and from a constructive point of view, meaning a new accomplishment. This new accomplishment has then to be fulfilled in our times, “In Der Maschinenzeit”. Is it possible to realize a fair, sublime, “spiritual” society in the post-atomic era? Is it possible to combine the machine with the Tradition?y form of “industrial” art becomes imperative. As far as the social and the political levels are concerned, this New Man has to be a master of the machine, and not a slave or a victim anymore. Likewise, on a cultural level the New Man needs to integrate with the machine, which has to become part of this new culture in order to continue the traditional values with this new tool. As a result, this will create an artistic and aesthetic identification, which will give a new identity appropriate to the Arbeiter, as Jünger understood it (the Arbeiter is the E. Junger concept about a New Man that combines technique and ascetic / metaphysical vision).
''THE TECHNIQUE IS THE MEAN BY WHICH THE FIGURE OF THE WORKER MOBILIZES THE WORLD'' E. JUNGER
As consequence TSIDMZ enjoyed the Eurasian idea, concept and theme: social equilibrium, overcoming of every ideology, a metapolitical and metaphysical weltanschauung to regain the Eternity in the post-modernity.
2. You define your music as post-industrial, elektro-martial, experimental, ambient. What is the impact of that?
Sol: The main problem of my music is the definition. First of all because I don’t love labels (labels are good only for the journalists); labels, as ideologies or as every scheme or as every fast self-definition, trap the subject in a little box, from the one, after some time, start to be really difficult to escape. Closed in a scheme, it’ s really easy that the subject start to lose his own complexity and the possibility to take elements and ideas from more than one part. The scheme is only a very deep reduction, a not clever limit. Then because I have so many musical passions, musical influences and will to mix all of them and to give space to all them, starts to be really difficult to give only one definition-word to the whole project. But I know that a basic definition is useful and can help to understand at least the starting point of the project; so I took the four main styles that more influenced TSIDMZ and more I listen from I was little: martial music, noise / dark-ambient, experimental-industrial music and electronic music (from Stockhausen, to Kraftwerk, to Laibach to EBM to techno etc.). I put them together in a single short slogan, that still remains restrictive, but that at least is a little bit more articulated than the usual single musical definition. This slogan is composed by four musical styles names, more the addition of the “post-industrial” definition. Post-Industrial because I mix industrial music, that is the main style from the one I start to play music, with many other elements, and because nowadays we leave in the worse era, the “post” era; post-industrial for sure, post- bourgeois and post-modern: if in the previous era “God was dead”, now He is definitely buried.
3. Album Pax Deorum Hominumque was well received by the audience, which was to be expected. Last year, has a new and last album Ungern von Sternberg Khan! How are you satisfied with him?
Sol: “Ungern von Sternberg Khan” is the second part of my trilogy about the Eurasian concept. I think that this second chapter had much more attention than “Pax Deorum Hominumque”, that had anyway a very good attention and prepared at the best the way for the second part of the trilogy. I think that one reason of the very good success of “Ungern von Sternberg Khan” cd is because of the cd theme, that for sure catch the attention much more than many other themes or other aesthetics, and because I worked with a better balance among the many musical elements and different styles that influence me and that usually I want to mix and bring together. For the beginning of the next year I hope to be ready with the third part of this trilogy.
4. Often collaborate with other artists and publish split albums. What are your experiences of this cooperation? Will you continue to explore music with other musicians and artists that you'll be sharing the listeners?
Sol: Every collaboration is a chance to improve, to enrich my style and to propose something original and not standardized. Every collaboration is an opportunity to meet and to know better the artist with the one I decided to work and to share a piece of my weltanschauung, of my music and of my life with someone who decided to help TSIDMZ world and ideas. In the future I want to continue in this way of course, and especially I would like to work more with the EAA (Eurasian Artists Association) artists.
5. Special cooperation has been established with a Serbian writer Boris Nad, who was the lyricist on your new mini single EP Sailing to Itaca. Do you want tell our readers something more of this collaboration?
Sol: The “Itaca” text released in the last TSIDMZ cd “Ungern Von Sternberg Khan” and in the mini cd called “Itaca” (http://www.discogs.com/TSIDMZ-Featuring-Boris-Nad-Sailing-To-Itaca/release/5889620 ), was written by the serbian Poet Bori Nad. I met him reading around the web some articles from his blog. We get in touch when I was recording “Ungern Von Sternberg Khan” cd and this was a big luck; first of all because I met a really nice and friendly person, with a big passion for music, and with a great visionary taste. Then because I needed a text for this song, but I had still doubts about the main theme for the track and especially about the text. I was close to finish the musical base with a precious guest like Corazzata Valdemone, but still not a clear idea about the topic. Then I remembered that some weeks before, Boris had sent me some writings and poems from his compositions. Immediately, reading Itaca poem, I understood that it was the right theme, both for the cd concept than for the musical base itself. The great voice of Gabriele from Corazzata Valdemone did the rest.
6. What is the music for you ? In which way music define you?
Sol: Art gives you the opportunity to take the best from every ideology, from every idea, from every style and every philosophy, without necessarily identify or trap yourself in one of them.
7. TSIDMZ is member of Eurasian Artists Association. In Serbia, a small number of people are introduced with the concept of EAA, can you tell us more about the EAA?
Sol: First of all I would like to thank you for your presentation, for your passion and for your support. I thank you also on behalf of all the EAA artists. The EAA is an official group, approved by A. Dugin, born from an idea of mine and the german neofolk singer Sonnenkind. As it is stated in the Facebook page “The Eurasian Artists Association includes artists (writers, painters, musicians of different genres) who officially support the Eurasian idea of a metaphysical weltanschauung of the history and the idea of a multipolar world of cultures and traditions against the post-modern globalist criminality”. ( https://www.facebook.com/EurasianArtistsAssociation ) The EAA support these artists and their works in order to create even in art a resistance against the decay of the post-modern world.
8. Can the music, fight against politics, post modern and globalization?
Sol: Art, or music, is essential. Art is a mirror of the times, art expresses values, and brings also a spirit that can be divine or demoniac. Through art and aesthetics it is more fast and more easy to spread an idea, a theme or a principle. From a Traditional and religious point of view, Art is useful for the own personal growth, helps to meditate, to contemplate, to improve and then subsequently to influence the environment where the “opera” arrives. It is an alchemical process of inner and outer transformation; transformation that is not directly dependent on a small or large interest/participation of the people (of course interest and participation are important, but they are not the first and most important element). Art is a tool that try to bring inside the “reality”, inside the matter, the Platonic hyper-uranic Ideas (that are parts of the whole Truth). So the artist doesn’t exist as first source and as first root of the work he does. He is only a channel, he doesn’t “invent”. He just bring inside the matter an Idea, as well as he can see it and how much he can see it. For ex. in the old Greek poem Iliad, Homer asks to the Muse “to tell” him about the theme he would like to sing (“Sing, goddess, the anger of Peleus' son Achilles and its devastation, …”); it’s a God or someone metaphysical who use the poet to express something and it’s clear that the poet is a tool that cannot create, but can just filter. The Kali-Yuga law says that more the time flows and more and more people degenerate, so I think that divine or spiritual art will be always less (more the artist can “watch” the Idea in his perfection, and more the art become spiritual and divine) or will touch always less people, but cannot die and will be always the most valid tool to watch the perfection (Platonic Ideas) and to resist against the modern nihilism..
9. A concert in Serbia, perhaps?
Sol: Would be great to play in Serbia. Music or art in general are a good help to support ideas, to make them stronger and to give them an aesthetics; a live show, but in general a physical presentation, is usually one of the best chance to spread, to share and to have a direct confrontation with the audience.
10. And in the end what will you told readers in Serbia?
Sol: Through internet and music I had the chance to meet virtually lot of great people in Serbia. I noticed there are really friendly, nice and passionate people. Serbia suffered a lot because of the New Western Disorder, and now, with the EU dictatorship, maybe more than before. So I think this is an important reason why I found there a lot of attention in my music and themes.
http://www.reverbnation.com/tsidmz
https://www.facebook.com/Tsidmz
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