anomala sundscapes

Now Available on CD, Bandcamp, iTunes

Transcendent sound that floats in the ether, dragging with it memories, affections and all the resulting emotional load. Rarefied music, characterized by an impression of impalpable lightness, which in the placid undulations of Mare Tranquillitatis and the crystalline transparencies of Rain People effectively amalgamates loops, drones and guitar reverberations. On the second of the two CDs, the sound material opens up to new colors and in Everyone welcomes echoes of modern classicism a la Arvo Pärt generated by a suggestive succession of sampled strings, then weaves synths and radio waves into the cosmic visions of Is Strange and punctuates the drones of In the Eye with sparse piano chimes. Traditional ambient but with its own specificity, not without poetic ideas.
Massimiliano Busti Blow Up Magazine

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Now Available on CD, Bandcamp, iTunes

Unlike the electro-acoustic suite “Combustion” which inaugurated the catalog of Anomala Soundscapes in the split album together with Daniele Pecorelli, Mark Schaub’s new work develops on various levels articulating between very dissimilar styles and sounds. The trait d’union between these short compositions is the attempt to recreate the apocalyptic scenarios of Ballard in music, an author so dear to a certain industrial culture that here once again he returns to the center of speech in a series of sounding rooms that, as in the story narrated in “Condominium” by the English author, they seem to overlap in a complex structure regulated by the forces of evil. To accomplish this paradoxical “ascension into hell”, Schaub therefore relies on disparate means, from the ghostly setting of “Misty Rain” to string instruments that reverberate in the distance in “Old Paths” while a television on seems to be the only sign of life still perceptible, from the liquefied and radioactive lounge music of “A Crossroads Overhead” to the abstract and futuristic electro-jazz of “Collide”, up to the glacial desolation of “Rests of a Damaged Future”, a purifying and definitive showdown.is extinct.
Massimiliano Busti Blow Up Magazine

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Now Available on precious limitate edition of 100 copies vinyl or digital download

&, first production of the newborn Anomala Soundscapes wants to be a programmatic manifesto of what the label intends to realize. The debut album of a new label has the difficult task of giving the editorial imprint in one fell swoop. Vinyl was chosen as the format and split album as a formula. The format of the vinyl was not chosen for the alleged better listening quality compared to than other media, but rather and above all for to recover a certain now rare “listening ritual”. The & project was intended to be released as a vinyl record from its very origin. Each side separately presents the work of one of the two musicians, neither of whom had heard the work of the other until the release. 

Who’ll frame my memories in ash Daniele Pecorelli 

We are our consciousness, and our consciousness is the form and content of our memory. What happens to our memories the moment we die? They become an electrical residue that fades away. As we are conscious that our memory is falling apart, a new consciousness arises that in turn disintegrates into kaleidoscopic fragments until they dilate into the final moment of our recorded time. 

Combustion Mark Schaub 

Material, rough, sometimes unprejudiced, dark but carnival, tries to render the idea of transformation in an informal way without emotional variations. In particular chemical transformation, the allusion to fire is made explicit by the title. The transformation is an action of opposing forces and from the tension develops the passage that explores all the audible frequencies (even inaudible) trying to materialize the intimate tension of the matter and the dissolution of the same in the final suspended and almost incomplete. 

press:

The first production of the Anomala Soundscapes label a split vinyl entitled ‘&’, one side for composer and pianist Daniele Pecorelli, other side for composer Mark Schaub. Pecorelli in the song Who’ll frame my memories in ash offers a sound journey that immerses the listener in an environment that gradually thins out, with echoes of sounds in the distance that gradually drift, and repeated moments of oblivion; Schaub, having abandoned the role of the dark ambient music project Maath, proposes himself with the song Combustion, and at times makes the sounds of a wild lagoon “real” and intriguingly immerses the listener in a world that turns out to be alien and disturbing at the time same.is extinct.
Marco Paolucci Kathodik

Now to end this episode on a very interesting way, I would like to let you know about the least commercial sounding music of this bunch. Daniele Pecorelli and Mark Schaub’s collaboration… but wow! This is avant-garde experimentalism at the top of its game, music that hangs more into the realms of sound art, ambience and interesting audioscapes than popular culture. It’s a huge trip though. With sightings of electric frogs, howling obscurities, nature sounds that feel unnatural and strange – creating the ideal base to have a different kind of an experience with. You can get this one on vinyl, which I believe is something beautiful to invest in.
“Yeah I Know it Sucks”

Debut for the new label Anomala Soundscapes, the split album “& ‘” creates an ideal sound bridge between two composers Rome based, active in the field of research, Daniele Pecorelli and Mark Schaub. The first, through the gradual expansion of the sound material contained in the Who’ll Frame My Memories suite, works by metaphors, ideally and effectively representing the idea of death, the dispersion of vital energy, and the persistence of memory. Everything here proceeds by accumulation, expansion of volumes, up to the moment of final disintegration. In Combustion, Schaub relies instead on impressionism to give life to a music that effectively links the sacred with the profane, the hermeticism of the alchemic tradition with an abstract model of classical composure. From the ensemble, derives a sound material full of suggestions and narrative cues, in a continuous succession of upward thrusts and descents to the underworld.
Massimiliano Busti BlowUp magazine

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Only in the Darkness. Only in the Void. Only in the Silence. Only there MAATH can create and mold their ominous worlds of drones. Black & bleak ambiences resounding in places where all humanity is extinct.
Mauro Berchi Eibon Records

Put the CD of “Darkness, Void and Silence” in the reader means coming across a deep mental journey, made of cold and dark ambient sounds. The Capitoline Maath has been offering us very deep music for years, confirming this time as one of the best isolationist landscape sculptors active in Italy. Consisting of the presence of three compositions, in turn divided into several acts, since the attack of the first breaths of Darkness, and for almost all the rest of the continuation, we come into contact with a delicate and ascetic bundle of drones that floats in the ether, feeding contradictory but at the same time complementary emotions: meditation with Darkness, clouded sense of nostalgia at the end of the second part of Void, supported by a catatonic hint of rhythm, fear and ecstasy with the dark mood of Silence that flows into a celestial climax. Certainly we have frequented these other music for more than 30 years, but we do not tire of probing them when they are proposed with such elegance and in a certain sense simplicity.
Sergio Eletto Kathodik

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Based upon the concept of coma, sleep and suspended animation, “No survivors for the new world” gently brings you through a dormant world, where dreams flow freely around you, leaving a coloured trace in the cold and dark void. Melodic dark ambient of the finest kind, and one of the most impressive debuts I’ve heard in a long long while…
Mauro Berchi Eibon Records

“No Survivors For The New World” is the precious reissue of the cd privately published in fifty copies in 2003; and it is a great feeling. A sacrilegious and pagan environment, the sound immersions of Robert Rich and Paul Schütze, the neural ellipses of Zoviet France and Lustmord but also a marked romantic and purifying tendency that often translates into a presence / absence of sound that is slightly less than sublime. Sound that becomes matter and landscape and then becomes a gaseous and immaterial cloud, pure fluctuation from a geiger counter; hostile wind and icy on a horizon that intermittently lights up with emotional sides of considerable caliber. A path made of dark corners and sudden turns with the rain as a road companion until you reach the small and moving crossroads of the homonymous No Survivors … which stage a motionless dance dedicated to the moon of crystalline beauty, ascent and ecstasy in a shred of time faded by memory. Ghost Song dismisses us, slowly sliding on the edge of a marine abyss on whose bottom glimpses of ancient memories of shamanic languages ​​flash. The night exhales a peaceful and conscious breath.
Marco Carcasi Sand-zines