* Edition of 200. Oversize packaging. Poster color cover, close is 21x21 cm * "As Teatro Satanico we conceived these tracks in September 2018, when somebody advised us that Dmitry Vasilyev died by drowning in the Black Sea. Dmitry managed our first Russian gig in Moscow that same year, and we became friends. On the spur of the moment, to honour him composing some tunes looked like a sort of natural unconscious reaction to that bad news. Anyway, we stopped working on them almost immediately and we filed the tracks away. It was too hard to sing about him. I must confess that we probably sang for too long and too much about biographical related topics in our previous albums (e.g. see our 2016 "Friends & Fiends"); also we didn't want to somehow exploit the death of a friend. And indeed in those days we felt that it was time for us to change and move towards a new musickal cycle that eventually lead us to the post-kosmick khaos-magick inspired droning sound of "The Tunnels of Set", the 2019 album that marked a radical depart from our previous traditional sound approach.
During the 2020 COVID lockdown, when all our relations seemed to be one step from a possible end, we recovered the tracks that we had stored and, trying to do our best in order to escape from sentimentalism, we completed them in the form you can actually listen here. To those who may be interested in our musickal journey, "Le Noyé" could be seen as the missing link between our last albums and the new sound production we pursue after "The Tunnels of Set"; while to those who may be not interested in our left-handed sonik path, well, those may stop over-thinking and just enjoy these two post-pop songs and these two ambient-noise suites for what they are: musick about loss, mourning and moving on." - Devis Granziera
Poster color cover, close is 21x21 cm., developed is about 42x59,5 cm. "As Teatro Satanico we conceived these tracks in September 2018, when somebody advised us that Dmitry Vasilyev died by drowning in the Black Sea. Dmitry managed our first Russian gig in Moscow that same year, and we became friends. On the spur of the moment, to honour him composing some tunes looked like a sort of natural unconscious reaction to that bad news. Anyway, we stopped working on them almost immediately and we filed the tracks away. It was too hard to sing about him. I must confess that we probably sang for too long and too much about biographical related topics in our previous albums (e.g. see our 2016 "Friends & Fiends"); also we didn't want to somehow exploit the death of a friend. And indeed in those days we felt that it was time for us to change and move towards a new musickal cycle that eventually lead us to the post-kosmick khaos-magick inspired droning sound of "The Tunnels of Set", the 2019 album that marked a radical depart from our previous traditional sound approach. During the 2020 COVID lockdown, when all our relations seemed to be one step from a possible end, we recovered the tracks that we had stored and, trying to do our best in order to escape from sentimentalism, we completed them in the form you can actually listen here. To those who may be interested in our musickal journey, "Le Noyé" could be seen as the missing link between our last albums and the new sound production we pursue after "The Tunnels of Set"; while to those who may be not interested in our left-handed sonik path, well, those may stop over-thinking and just enjoy these two post-pop songs and these two ambient-noise suites for what they are: musick about loss, mourning and moving on." - Devis Granziera, 2020 Teatro Satanico: Roberto Kalamun Pasini - vocals, clarinet and graphic designing Mauro Martinuz - percussions and glockenspiel Devis Granziera - vocals, synths, drum-machines, ocean drum, steel tongue drum, field-recordings, production and mastering special guest Davide Tozzoli, mellotron in "Those Are Pearls" Musik and words by Devis Granziera, except for "Those Are Pearls" words T.S. Eliot and "Le Noyé" words by J. Prevert.
