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World's Leading Terrorist State
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Prolétariat & Industrie
Mécanismes Du Bruit
Unité Des Machines
Originally released in 1985. CD with 32-page A5 book. First reissued by Rotorelief in 2009. Features reworked visuals.
presents sounds -- noises -- in their rawest and most genuine aspect; sounds are machines and machines are sounds. Thus Vivenza captures the essence of factories with a strong sense of austerity and radicalism, evoking the thick smoke and intense darkness of industrial landscapes.
directly refers to the triumph but also decline of heavy industries in the '80s. The cogwheels, forges, and machines smash us in the face in a radically powerfully vivid way, plunging us into the midst of the machines -- and into the machines themselves -- with a surprising and striking strength. Since his first works in the mid-'70s, Jean-Marc Vivenza has theoretically and politically linked himself with the Italian Futurists and Russian Constructivists, and qualifies his music as "bruitist futurist" rather than "industrial." He enacts the re-appropriation of noise as a formal plastic aid. He explores the field of perspectives that the plastic-acoustic material offers and works on a concept that he calls "the objective materiality of noise," basing his work on the Futurist thesis of
proclaimed in his 1913 manifesto
The Art of Noises
. He is then the first, between 1976 (with the band
) and 1979, to build a bridge between the thesis of Luigi Russolo and our time. The originality of Vivenza lies in his use of sonorous industrial material in the literal sense of the word (machines, workers in action, factories). Noises and machines recorded and mixed by Vivenza in Grenoble, France, 1984. Mastered by
Hervé de Keroullas
, 2009. Graphic Design by
, 2009. Photography from Vivenza's personal archives.
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