Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Purchasable with gift card
€5EUR or more
Compact Disc (CD) + Digital Album
Limited CD edition with a unique artwork by Eeviac. The opened packging is a 50x50cm poster of the beautiful cover art. On the other side there is a playable tabletop game, inspired by XIXth century tabletop games. Dices not included.
Handnumbered and limited to 50 copies.
Includes unlimited streaming of Destroy Everything, Destroy Everyone
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
“Destroy Everything, Destroy Everyone” is an ambiguous album, starting from the title itself: is it an imperative sentence told to ourselves or to someone else? Is it an inner will or simply an impression when we look at human behaviours? Or is it a straight forward album? The question is open.
The music is ambiguous too: I combined the languages of noise, which is rather abstract and intellectual in its intent with rave electronic music, which calls for the body to move, to dance. Two apparently distant worlds that collides. But if we look closely they are not so different. There is a certain similarity in the two cultures of reference that generate these two languages: the iconoclast and punk intent of harsh noise and the anticonsumeristic approach of the early rave culture meet on the same ground and seems perfect together in an anticapitalist and counterculture view. The sonic result is for both very physical and deeply rooted in the body perception. There are obivously even more intersections between noise and rave culture, but it will take too much space here to talk about them.
There is a certain degree of globalism in the music of “Destroy Everything, Destroy Everyone”: the use of polirythms coming from non western cultures is completely devoured by the dystopian sounding mixture of languages and no input feedbacks asyncronous pulses. Is it the sound of a globalized future?
The album is conceived to sound loud, as a mirror of the human soundscape we create with our presence on Earth. It also reflects the condition of the music industry standards and the phenomenon called “loudness war”, and tries to break them all: this album can only sound extremely loud, there is no alternative. In a certain way we won’t probably be able to go back to a less human sounding world, so why not to push everything to the limits?
To me is very important to reflect on the languages we are using. It is mandatory when we are speaking of contemporary music. So please take the words above as a starting point for a wider approach to the album. But also feel free to ignore them. "Destroy Everything, Destroy Everyone" is probably my most extreme album and it can be listened even if you don’t know anything about it. Besides the conceptual background it is conceived as an audio and physical experience. Play it very loud, if you can. Dance, if the rythm takes you. I hope you’ll enjoy it or not. I hope it will give you something, unpleasant or pleasant. Or both.
On a technical side, because the instrument and the meaning are deeply linked together, “Destroy Everything, Destroy Everyone” is built around the no input mixing techniques: all the sound sources comes from the phenomenon of feedback and self resonance. Mixer patched into themselves creating electronic feedbacks, self oscillating circuits that exploit their limits to become sound sources. Are we just speaking of ourselves to ourselves, as individuals and as a human species, again and again, without any type of relationship with the others or the world around us?
“Destroy Everything, Destroy Everyone” has a strong political message. Music is not only entertainment or onanism. Music is communication and in these very though times I feel the urge to go back to a more political value in the artistic transmission of messages.
I’m so grateful to have two amazing artists in “Destroy Everything, Destroy Everyone”: Ruben with his saxophone and electronics and Eeviac for the cover artwork and the overall visual design. A huge thanks for their astounding work.
credits
released June 6, 2022
Andrea Gava - no input mixers, electronics, production
Ruben Rossi - tenor sax, electronics (on tracks 2, 6, 7)
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