TALISMAN PROUSTIANA enters the label Default Standard

Default Standard is a label for non default non-standard music, and anyway searching for a universal beauty and messagePhilippe and I, we are happy and honoured to be welcomed ! and with this fantastic play of ours !, sorry I love it too much, best listening


« THE SECRET CIRCLE » critics expositions and radio-shows


Welcome, this is an experience. The Italian poetess Antonella Porcelluzzi and the German musician-painter Michael Schaffer meet, to create an electronic ambient that aims to serve as a source of liberation for the listeners. Schaffer also writes esoteric and philosophical essays, and this can also be seen in some choices for the final result: the album is called « The secret circle » and consists of seven tracks, and certainly the choice of seven is not random.

Released by Opa Loka Records, « The secret circle » opens with « Repeat it many times », a humid environment where Porcelluzzi recites a few words slowly (in English). While the poet becomes more talkative in « Deities », talking about goddesses, colors, corpses, terrifying visions and strong symbolism, in this quarter of an hour, with threatening sounds. Around the tenth minute, Antonella dwells on a detail, repeated as a mantra: « Celestial eyes », and then whispers several times « repeat this », while the sound setting begins to include ritual bells.

Given what I heard so far, reading the third title worries me: « The womb » (the uterus). In fact, the piece starts with severe, static and slow sounds with a glacial tone, inside which Antonella slides with her voice, coming to describe the « phantasmagoria ». If you’re not already restless enough, the fourth track calls fear by its name: « Fear ». Acid sounds pounding and tinkling percussion envelop you, in the momentary silence of the poet. When the sound becomes a soft carpet, Porcelluzzi reappears, followed again by the ritual bells. When she resumes, she speaks of « the highest intellect » and liberation, because, as explained in the press release, the source of inspiration of the duo is the Tibetan Book of the Dead, and it’s about reincarnation, intermediate states, and liberation obtained from meditation and listening.

Overcome the rock of fear and disorientation, in fact, we pass to « Intermediary State », the phase between life and death, where « Karma controls not ». Now the ambient is always dark, but after saying these words, the mind is directed less towards fear, and more towards spiritual introspection, in a focused way. In fact, now sounds assume a less threatening and more psychedelic function. What a spell is this?

The sixth title raises even more, to the next level: « The experience of the bardo » (in the original language, « The Tibetan Book of the Dead » this is called « Bardo Thӧdol Chenmo »). The percussive element here prevails over the relaxed sounds, and these are regular and constant beats of (electronic) woods. The last part of this song is made of vibrant sinister screams, always with a ritual flavor.

The Seventh and last esoteric step can only have a rather explicit title: « Open the door ». Open the doors of perception. The secret circle ends between echoes and Floydian winds, and shows a burning, fiery ending like the fire of consciousness. Here, as Just Mick (Michele Odelli) often repeats, liberation comes from within, from mindfulness exercises, and many other beautiful things. And « The secret circle » is to be ascribed to this inner search. (Gilberto Ongaro)


TRANSLATION : The collaboration of the Italian poet, filmmaker and musician Antonella Porcelluzzi and the German painter, musician and poet Michael Schaffer resulted in the album, « The Secret Cycle ». A work inspired by the Tibetan Book of the Dead which describes the various states of consciousness and perception during the period between death and reincarnation. The agony of a soul after-death is treated by trying ensure a higher new animal/human reincarnation. Based on the motto « Liberation by Listening », the duo works ritualistically, chanting mantra through ambient electronic clouds, as a darker and less rhythmic variant of Dead Can Dance.

******* Bonjour Nous souhaitons acquérir votre CD « The secret circle »pour le fonds de la médiathèque de Sélestat.

Fango Radio
Suoni dalla Pattumiera astrale
14.07.2021, 15:00
www.fangoradio.com   Mári Mákó – Homecoming
Matt Christensen – Where Does My Mind Go?
Sorry For Laughing – Obsolesce
Dead Melodies – The Sacred Scroll
Gaap Kvlt – Naje Haje
Porter Ricks – Nautical Dub
John Duncan & Stefano Pilia – The Reprisal
RhaD – Tape manipulation of 1998 radio recordings
Susan Howe & David Grubbs – Concordance (excerpt)
Vidna Obmana – Until The Glowering Space 1
Gabriele Gasparotti – Notte e Nebbia
Leila Abdul-Rauf – Distortions In Phantasy II (Consumption)
Tomasz Sroczynski – Adagio
A. E. Porcelluzzi / M. Schaffer – Intermediary State

our disk in a sound-installation at the GALERIA BRUII, POnta DElgada, St. Miguel, Azores Islands

the sound was audible in a natural cave near to the gallery

Radio Regent The Moderns

David Haney – Circadian World Clock 2019 – 9am Terce – (The Early Days) Copenhagen, Denmark_ Tel Aviv, Israel_ Siem Reap, Cambodia 0.00
Attacca Quartet – More Love Less Hate 1.47
Christina Petrowska Quilico – Preludes Book Two – VI. Ondine (Water nymph) 3.24
Stanley Grill – Transfiguration (For Four Violas) – III. Andantino 6.06
Broeckaert Berweck Lorenz – Strilento 9.11
Pruski – Stroll 25.46
Modelbau – Sunrise Radio 32.47
bleed Air – Yahiko 36.39
Porcelluzzi / Schaffer – Intermediary State 37.23
Fumbata – Emerging Archetype 41.53
Booker Stardrum – Fury Passage 46.49
Nathan McLaughlin – Your Velcro Shoes 49.50
Sailcloth – Little Sleeper 52.35
Dave Phillips – a life saved is a death postponed 55.23
Ayumi Ishito & The Spacemen – Misspoke 1.01.33
Aar & Dag – LKOOTAA 1.04.40
Jon Irabagon – Anthropology 1.09.30
Matias Riquelme – Cool Gale 1.10.41
James Batty – Exodus 1.16.08
Oda Dyrnes – Zoe Efstathiou – Ammos 1.20.05
A Journey of Giraffes – Color Fishing 1.32.38
Chorchill – The Hamlet Escape 1.37.22
Natalia Valencia Zuluaga – Journey Through the Glass 1.38.34
Robin Barnick – Part II 1.41.08
Endurance – Spheres 1.50.22
Danny Scott Lane – Purple 1.53.40
Ryan J Raffa – Circling 1.54.58
Foodman – Iriguchi 1.56.59
Hiro Kone – Nomad ft. Travis 1.58.26
Trentemøller – No One Quite Like You (feat. Tricky) 2.04.00
Mattia Prete & Alberto Fiori – The Bright Side 2.08.38
Album – La derniere 2.13.17
Meridian – Varan 2.16.08
Robert Gerard Pietrusko – UTM 39N 2.20.54
The Crossing – Of Nights and Solace, Fantasia on Andalusian Muwashshah Poetry – III. Forsaken 2.26.19
Rrill Bell – I. The Return 2.33.32
Catherine Lamb – Intersum 2.48.34



Radio Gwendolyne
Argonauta 08.06.2021

Iron and wine – calm on the valley
Iron and wine – why hate winter
Sorry For Laughing – A Howl in the Park
Sorry For Laughing – Anti-Hymn
Matt Sweeney and Bonnie ‘Prince’ Billy – Good To My Girls
Matt Sweeney and Bonnie ‘Prince’ Billy – Not Fooling
Magic Castles – Ode to the Wind
Magic Castles – Valley of Nysa
Margit Myhr | Erlend Apneseth – Min Gud jeg prise vil med flid
Margit Myhr | Erlend Apneseth – Valdrisen
Okkyung Lee – Mountains
Okkyung Lee – Pisces
Porcelluzzi / Schaffer – Fear
Porcelluzzi / Schaffer – The Experience of the Bardo
Eva Lindal & Virg Dzurinko – Nostalgia
Eva Lindal & Virg Dzurinko – Il Mare

Don Campau est avec Antonella Eye Porcelluzzi.

t1S7 Shtaponsjouighredfnh  · Experimental music tonight! ( Thursday 6-17-21) on « No Pigeonholes EXP on KOWS,That’s kowsfm.com at 6PM Pacific .

Photos: Lauren Sarah Hayes, Katya Shirshkova

No Pigeonholes EXP 6-17-21broadcast on KOWS Radiokowsfm.comhosted by Don Campaudoncampau.com

Vainio & VIgroux/ Brume/ Ignis/—DLKlute/ Arrival/ Casual Bodies/—DL Lauren Sarah Hayes/ Xeon/ Embrace/—DL Geir Hjorthol & Andreas Berth/ These Times. These Times/—DL Antonella Eye Porceluzzi & Michael Shaeffer/ The Experience Of The Bardo/ The Secret Circle/ bandcamp DL Raphael Vanoli/ Sandor/ Bibrax/ —CD Jason Ward/ Open Static/ If You Had Wings/—CD Tellef Ogrim & Anders Berg/ Gavotte/ Kume/ —CD Egil Kalman & Fredrik Rasten/ 01/ Weaving A Fabric Of Winds/—CDHour 2Explore Ensemble plays Oliver Leith/ Grinding bust Burning/Me Hollywood/ Another Timbre CD Linda Caitlin Smith/ Ballad/ Ballad/ Another Timbre CD James Weeks/ Summer/ Summer/ Another Timbre CD Barbara Monk Feldman/ Verses For Vibraphone/ GBSR DuoWith Mira Benjamin/ Another Timbre CD Harme/ Feet Of The Lequecho Bird/ Ashes Of The Soul/ —DL Katya Shirshkova/ Pond/ Pond/—DL Matt Weston/ Fear Of Insomnia/ Four Lies In The Eavesdrop Business/ 7272 LP

Bad Alchemy Magazine writes on me and « The Secret Circle » with Michael Schaffer

Bad Alchemy writes about The Secret Circle

and about my work WITH YOU MUSICIANS !!!!!



Whether there is a ‘Liberation by Listening’ or blowing in the Tibetan Book of the Dead, as ANTONELLA EYE PORCELLUZZI did, is left to be seen. That it lives more freely without fear and with the courage to take risks, that may be the case. The question of shaking off prejudices, forced feelings of guilt, as well as imagined services and unfounded privileges to suck this courage out of sound or text, should not revolve only in a secret circle. With Les Oiseaux as one of the « Chansons d’Amour Tristes », Farabi Toshiyuki Suzuki from Nagoya Dante’s sonnets, with Terbeschikkingstelling from Groningen Paolo Conte as Future Punk or with Chris Phinney Catullus and Horace tuned, with Deaf Society « The Velocity of Velocities » (Opa Loka, 2017) realized, with « Orgasmuslieder » Wilhelm Reichs with storyteller 666 all hell. In – at ‘Children’ and « Eresia Paradiso » Marco Lucchi in Modena, who adores Dante and Nietzsche like her, with Eisenlager in Dortmund, Innocent But Guilty from Bordeaux, Vaders Orchestra from Duisburg, Obscure Heaven in Crimea or Rauppwar in Rio Grande do Sul, she found co-thinkers orchestrating her smoky voice. For The Secret Circle (OL202 101) she has MICHAEL SCHAFFER at her side, with Monoflow, Birdmachine and Corium something like the house spirit at Opa Loka, most recently with Philippe Petit. He delivers a pulsating, solemnly booming, chirping, roaring carpet of sound for her murmuring recitation from the Bardo Thödol and dark songs as the blood sister of Annie Anxiety.

Fear death not, easier said than done. Even the sound winds as ominously growling, shimmering, dazzling brainfuck: O nobly-born, listen undistractedly… From the east of thy brain, the White Kerima, holding a human corpse, as a club, in the right hand; in the left, holding a skull-bowl filled with blood, will come to shine upon thee. Fear not, because you can only fear in the ‘Intermediary State’, the little life between ‘The Womb’ and the exit. No one needs sesame, the door opens by itself. But because of this – analogous to Peter Sloterdijk’s ‘Zornbanken’ – invest in ‘Angstbanken’ – vulgo ‘religion’, get drunk on wild texts and let them be incited to ‘surreal rites’? Although the Bardo Thödol is extremely wild and surreal, it is to ‘otherworldly’ for phobokratic benefit. On the contrary, Porcelluzzi is well suited to encouraging a feeling of freedom, especially in phobic times, which needs neither a ‘strong hand’ nor scapegoats. She is already immersed in it with ‘Limbes Bardo Thödol’ (2014), the first part of her film trilogy « Divine Comédie » with still ‘Race’ (2017) and ‘Eresia Paradiso’ (2018), which she wrote from Kabbala, I Ging, apocryphal Gospels, Castaneda, I Ging, apocryphal Gospels, Castaneda, Jodorowski, Yogananda, Jung, Paracelsus, Freud, Lacan, Leary, Crowley, Herzog’s « Aguirre », Pasolini, but also Mario Bava, as a psychomagical healing and self-healing story.

Or, with Joseph Campbell as a tour guide and intentionally campy, as a journey of initiation and emancipation, which with Innocent but Guilty & Crepuscular Entity as The Masquerade quite White Wolf-trivial ties in with « Vampire: The Masquerade » & « The Book of Nod ». I find myself there, touched only by Lilith’s bloodthirstiness and the tragedy of Cain and Enoch, again as an inhibited counterpart to her offensive Gothic Punk, her « Love is as violent as death », her vitalistic celebration of the extraordinary: Just sitting here / Under black glasses / In the sun / With some music / With some dance / Drinking [your] / Hesitating life / Till the bottom / With a / Straw. [BA 111 rbd



Ob es eine ‘Liberation by Listening’ gibt oder indem man im Tibetanischen Totenbuch blät­tert, wie ANTONELLA EYE PORCELLUZZI es getan hat, sei dahingestellt. Dass es sich freier lebt ohne Furcht und mit dem Mut zu Risiken, das mag allerdings so sein. Die Cou­rage, Vorurteile abzuschütteln, aufoktroyierte Schuldgefühle ebenso wie eingebildete Ver­dienste und unbegründete Privilegien, diesen Mut aus Klang oder Text zu saugen, darum sollte es sich eigentlich nicht nur im geheimen Kreis drehen. Die unermüdlich kreative Künstlerin in Marseille hat mit Les Oiseaux als eines der « Chansons d’Amour Tristes » ‘Bla­sé’, mit Farabi Toshiyuki Suzuki aus Nagoya Dantes Sonette, mit Terbeschikkingstelling aus Groningen Paolo Conte als Future Punk oder mit Chris Phinney Catull und Horaz an­gestimmt, mit Deaf Society « The Velocity of Velocities » (Opa Loka, 2017) realisiert, mit « Orgasmusliedern » Wilhelm Reichs Orgon gehuldigt, mit Storyteller666 sämtliche Höllen abgeklappert. In – bei ‘Children’ und « Eresia Paradiso » → Marco Lucchi in Modena, der wie sie Dante und Nietzsche verehrt, mit Eisenlager in Dortmund, Innocent But Guilty aus Bordeaux, Vaders Orchestra aus Duisburg, Obscure Heaven auf der Krim oder Rauppwar in Rio Grande do Sul fand sie Gesinnungsgenossen, die ihre verrauchte Stimme orchestrie­ren. Für The Secret Circle (OL202 101) hat sie MICHAEL SCHAFFER an ihrer Seite, mit Monoflow, Birdmachine und Corium so etwas wie der Hausgeist bei Opa Loka, zuletzt mit Philippe Petit. Er liefert einen pulsenden, feierlich dröhnenden, zwitschernden, brausen­den Klangteppich für ihre raunende Rezitation aus dem Bardo Thödol und dunklen Ge­sänge als Blutsschwester von Annie Anxiety. Fear death not, leichter gesagt als getan. Selbst der Sound windet sich da als ominös grollender, flirrender, schillernder Brainfuck: O nobly-born, listen undistractedly… From the east of thy brain, the White Kerima, holding a human corpse, as a club, in the right hand; in the left, holding a skull-bowl filled with blood, will come to shine upon thee. Fear not. Denn fürchten kann man sich nur im ‘Intermediary State’, dem bisschen Leben zwischen ‘The Womb’ und dem Exit. Niemand braucht Sesam, die Tür öffnet sich von allein. Klopf, klopf. Allerdings: Not today. Aber deswegen – analog zu Peter Sloterdijks ‘Zornbanken’ – in ‘Angstbanken’ investieren – vulgo ‘Religion’, deswegen sich an wilden Texten besaufen und zu ‘surrealen Riten’ anstiften lassen? Das Bardo Thödol ist zwar äußerst wild und surreal, aber zu ‘jenseitig’ für phobokratischen Nutzen. Porcelluzzi taugt es im Gegenteil dazu, gerade in pho­bischen Zeiten ein Gefühl des Freiseins zu ermutigen, das weder eine ‘starke Hand’ braucht noch Sündenböcke. Sie ist darin schon bei ‘Limbes Bardo Thödol’ (2014) eingetaucht, dem ersten Teil ihre Filmtrilogie « Divine Comédie » mit noch ‘Race’ (2017) und ‘Eresia Paradiso’ (2018), die sie aus Kabbala, I Ging, apokryphen Evangelien, Castaneda, Jodorowski, Yogananda, Jung, Paracel­sus, Freud, Lacan, Leary, Crowley, Herzogs « Aguirre », Pasolini, aber auch Mario Bava, als psychomagische Heils- und Selbst­heilungsgeschichte synkretisiert hat. Oder, mit Joseph Campbell als Tour-Guide und gewollt campy, als Reise der Initiation und Emanzipation, die mit Innocent but Guilty & Crepuscular Entity als The Masquerade ganz White Wolf-trivial anknüpft an « Vam­pire: The Masquerade » & « The Book of Nod ». Ich finde mich da, von Liliths Blutdurst und der Tragik Kains und Henochs nur ge­streift, wieder als verklemmtes Gegenbild zu ihrem offensiven Gothic Punk, ihrem « Love is as violent as death », ihrer vitalisti­schen Feier des Extraordinären: Just sitting here / Under black glasses / In the sun / With some music / With some dance / Drin­king [my] / Hesitating life / Till the bottom / With a / Straw. [BA 111 rbd]

bad alchemy

badalchemy.debad alchemyBad Alchemy ist ein dem Marginalen und Peripheren gewidmetes Audiomagazin, mit jeweils einer dazu passenden 7″-Single oder EP. Ins Leben gerufen wurde BA 1984 als Projekt von Recommended Deutschland. R. Dittmann alias RBD produziert das Heft während seiner Freizeit in zäher finanzieller und kultur…

BAD ALCHEMY 111, giugno 2021
Resta da vedere se esiste una Liberazione tramite l’Ascolto, o se si può’ soffiare nel libro dei morti tibetani, come ha fatto ANTONELLA EYE PORCELLUZZI. La libertà di vivere senza paura e con il coraggio di correre dei rischi. Il coraggio di eliminare i pregiudizi, i sensi di colpa improvvisati, i servizi immaginari e i privilegi infondati di assorbire questo coraggio dal suono o dal testo, non dovrebbe quindi limitarsi ai « circoli segreti ». Antonella artista instancabile e creativa di Marsiglia, con les OISEAUX canta « Chanson d’Amour Tristes » e « Blasé », con Farabi Toshiyuki Suzuki di Nagoya canta i Sonetti di Dante, con Terbeschikkingstelling di Groningen, Paolo Conte in una versione Future Punk, con Chris Phinney recita Catullo e Orazio, con Deaf Society « The Velocity of Velocities » (Opa Loka Records, 2017), con « ORGASMUSLIEDER » cante l’Orgone di Wilhelm Reich, con Storyteller 666 ha cercato di girare tutti gli inferni. Poi « Children » e « Eresia Paradiso » con Marco Lucchi di Modena, che adora Dante e Nietzsche come lei, con EISENLAGER a Dortmund, con Innocent But Guilty a Bordeaux, Vader Orchestra a Duisburg, Obscure Heaven in Crimea o a Rio Grande do Sul Antonella trova i compagni d’anima che suonano per la sua voce infuriata.
In The Secret Circle (OL202 101), ha MICHAEL SCHAFFER al suo fianco, con monoflow, birdmachine e Corium, lo spirito della casa « Opa Loka Records », che ultimamente ha pubblicato Philippe Petit. Michael Schaffer fornisce un tappeto vibrante, solennemente rumoroso, tortuoso e brunastro per la sua aspra recitazione del Bardo Thödol, con il canto oscuro della sorella di sangue di Annie Anxiety. È più facile a dirsi che a farsi.
Anche il suono si schiude come una sorta di grondante, volubile e scintillante Brainfuck: « O nobly-born, che si dà il caso… Il From the east of thy brain, the White Kerima, holding a human corpse, as a club, in the left, holding a a skull-bowl filled blood, vuole come shine upon thee. Si ha paura solo nello Stato Intermedio, il breve tempo di vita tra « Il Ventre » e l’ »Uscita ». Nessuno ha bisogno di Sesamo, la porta si apre da sola. Toc Toc: ma non oggi. Ma allora è per questo motivo – in analogia con i ‘banchi della rabbia’ di Peter Sloterdijks – che Antonella si investe nei ‘banchi della paura – e nella religione del volgo?, è per questo che si ubriaca di testi selvaggi, incitando a « riti surreali »?? Il Bardo Thödol è estremamente selvaggio e surreale, ma troppo unilaterale per servire contro la fobia.

Invece, Porcelluzzi è davvero in grado di incoraggiare, soprattutto nei periodi fobici, un senso di libertà che non ha bisogno né di una mano forte né di un capro espiatorio. Si è già tuffata in questo mare con il film Limbes Bardo Thödol (2014), nella prima parte della sua trilogia cinematografica « Divine Comédie » con i film ‘Race’ (2017) e ‘Eresia Paradiso’ (2018), inseguendo la Kabbala, l’I King, i Vangeli Apocrifi, Castaneda, Jodorowski, Yogananda, Jung, Paracelsus, Freud, Lacan, Leary, Crowley, il film di Herzog « Aguirre », Pasolini, e anche Mario Bava, e di tutto questo ha fatto una sintesi, una storia di guarigione psicomagica e di auto-guarigione. O anche con Joseph Campbell come guida turistica volutamente campy e ironica, o nel viaggio di iniziazione ed emancipazione in cui Antonella porta con sé Innocent but Guilty & Crepuscular Entity, come in un gioco di White Wolf-trivial, in « Vampire: The Masquerade ». Mi ritrovo qui dentro, travolto dalla sete di sangue di Lilith e dalla tragedia di Caino e Henoch, e ancora una volta sono solo una repressa controfigura sottoposta all’offensiva del suo punk gotico, del suo « Love is as violent as death », della sua allegra celebrazione dell’ « extraordinario »:
« Just sitting here / Under black glasses / In the sun / With some music / With some dance / Drin-king [your, MY] / Hesitating life / Till the bottom / With a / Straw.
[BA 111 rbd]


S’il y ait une ‘Libération par écoute’ ou si on souffle dans le Livre tibétain des morts, comme l’a fait ANTONELLA EYE PORCELLUZZI, ça reste à voir. Qu’on vive plus librement sans peur et avec le courage de prendre des risques, cela peut être le cas. La question de supprimer les préjugés, les sentiments forcés de culpabilité, ainsi que les services imaginés et les privilèges non fondés pour aspirer ce courage hors du son ou du texte, ceci ne devrait pas tourner seulement dans un cercle secret.

Avec Les Oiseaux les « Chansons d’Amour Tristes », avec Farabi Toshiyuki Suzuki de Nagoya les sonnets de Dante, avec Terbeschikkingstelling de Groningen Paolo Conte comme Future Punk, ou avec Chris Phinney en récitant Catullus et Horace, avec Deaf Society en « The Velocity of Velocities » (Opa Loka, 2017) , avec les « Orgasmuslieder » pour Wilhelm Reich, ou avec Storyteller666 en traversant tous les enfers. Dans « Children» et « Eresia Paradiso » avec Marco Lucchi de Modène, qui adore Dante et Nietzsche comme elle, avec Eisenlager de Dortmund, Innocent but Guilty de Bordeaux, Vaders Orchestra de Duisbourg, Obscure Heaven de Crimée ou Rauppwar de Rio Grande do Sul, elle a trouvé des co-penseurs orchestrants sa voix enfumée.

Pour The Secret Circle (OL202 101) elle a MICHAEL SCHAFFER à ses côtés, avec Monoflow, Birdmachine et Corium il est l’esprit de la maison Opa Loka, qui a récemment sorti Philippe Petit. Schaffer délivre un tapis sonore vibrant, solennellement retentissant, gazouillant, rugissant pour porter sa récitation murmurante du Bardo Thödol, et ses chansons sombres dignes de la sœur-de-sang d’Annie Anxiety. Ne craignez pas la mort, plus facile à dire qu’à faire. Même le son serpente comme un inquiétant grondement, scintillant, un éblouissant Brainfuck : « O nobly-born, écouter undistractedly… A l’est de ton cerveau, le Kerima blanc, tenant un cadavre humain, comme une massue, dans la main droite ; à gauche, tenant un crâne rempli de sang, viendra briller sur toi ». Craindre peut-on seulement dans l’État intermédiaire, la vie breve entre « Le Ventre » et la « Sortie ». Personne n’a besoin de sésame, la porte s’ouvre toute seule. Tok Tok: et pourtant pas aujourd’hui. Alors c’est celle ci la raison – analogue aux « Zornbanken », le bancs de rage de Peter Sloterdijk – pour s’investir dans des « Angstbanken », des bancs de peur, dans une religion du vulgum, c’est pour ça qu’on se soûle avec des textes sauvages et se laisse inciter à des rites surréalistes?

Bien que le Bardo Thödol soit extrêmement sauvage et surréaliste, il est trop ultraterrestre pour servir la phobokratie. Par contre Porcelluzzi est bien adaptée pour encourager un sentiment de liberté qui n’a besoin ni d’une main forte ni de boucs émissaires, et surtout en période de phobie. Elle a déjà fait son immersion avec le film Limbes Bardo Thödol’ (2014), la première partie de sa trilogie « Divine Comédie » qui compte aussi « Race » (2017) et « Eresia Paradiso » (2018): elle y suit et poursuit la Kabbale, l’I King, les Évangiles apocryphes, Castaneda, Jodorowski, Yogananda, Jung, Paracelsus, Freud, Lacan, Leary, Crowley, Herzog’s « Aguirre », Pasolini, mais aussi Mario Bava, créant ainsi une histoire psychomagique de guérison et d’auto-guérison. Ou, avec Joseph Campbell comme guide touristique et volontairement campy, dans un voyage d’initiation et d’émancipation, qui avec Innocent mais Guilty & Crepuscular Entity comme The Masquerade devient tout à fait White-Wolf in « Vampire : The Masquerade » & « The Book of Nod ».

Je me retrouve enfin là dedans, basculé par la soif de sang de Lilith et la tragédie de Caïn et d’Enoch, et encore une fois juste en tant que la contrepartie coincée de son punk gothique offensif, de son « Love is as violent as death », de sa célébration vitaliste de l’extraordinaire : Just sitting here / Under black glasses / In the sun / With some music / With some dance / Drinking [your, my !] / Hesitating life / Till the bottom / With a / Straw. [BA 111 rbd]


The Bardo Thödol, (བར ད ཐ ས ག ལ,) meaning Liberation by Listening in the Intermediate States or Tibetan Book of the Dead is a text describing the states of consciousness and perception that occur during the period from death to rebirth. The study of his life or the recitation of the main chapter by a lama during the agony or after death is supposed to help release the cycle of reincarnations, or at least to obtain a better reincarnation.

Several are the appealing elements to make a record inspired to this book. First of all to make it better known and especially in a sound form. Since this opus deals exactly with a « Liberation by Listening », letting my voice and Michael’s music serve this purpose is a real joy, and hopefully it works well for you.

Second, the Liberation does not regard only Death but principally Life, liberation from fears makes life livable and let the gifts implied in every Life unfold and develop. Also the ability to risk, risk to demand, risk to express, risk to be joyful, risk to get out of prejudice and false ideas about sin, guilt, burdens, merits, blockages, as well in education and in the display of social hierarchies.

Third, when we started to work at this album covid appeared, letting the reality and the fearing of death rise with unprecedented violence and at a worldwide extent. Social hierarchies have been thus building and fixing anew, and on purpose. Letting us step back, by missing freedom.

We are artists, not lamas, we don’t pretend to relieve people, but there is a burden of positive responsibility we can take on ourselves by releasing this work and offering it to the public. With our Best Wishes of Liberation. 


TUBAL THE SINGER-KILLER by The Masquerade: Crepuscular Entity – Innocent but Guilty – Antonella Eye Porcelluzzi

Lyrics & voice Antonella Eye Porcelluzzi

You search for God
I know
Or you avoid God
It’s the same
You search for schemes
For patterns
For images
Of you
Which are
Next to Him
Or at His opposite
You limit
To what is allowed
You are socially correct
You want to be
For what
You think
You are
For what you believe
You have to be
Your mind is so narrow
Your limits
Never you will
Get your goal
You better be
And unknown
To anyone
Life will flow
Will flow
I’m the full of life
I’m the full of energy
You cry constantly
You cannot feel
The flow of life
Going through
Your body
Going through yourself
To the others
To the field
What you can’t see
What you are hesitant
To admit
The force you have
And you disdain
Comes to me
I attract the force that
You don’t use
This invisible
So real

I Will make your life
You’ll never understand
Since you have not
Been reached
By mysteries
You cannot
Drink from
The source of life
The mountain
Of will
Falls over you
You are now dead
Who was the
The most lively
The most precious
You are offering
Your means to me

I was not chosen
In the sky
But just like you
I made my river
Be aspired
And now
It’s me
Just sitting here
Under black glasses
In the sun
With some music
With some dance
Drinking your
Hesitating life
Till the bottom
With a

LA GROTTE film by Antonella Eye Porcelluzzi


nothing is more appealing than intimacy, in my work i have this habit of letting private and public someway unite, which can be shocking, but it’s appropriate as a contemporary way to make art, and because my life is so often much more interesting than my art, and i do preserve my private life because my love resides in itit is the way i chose for this new version of my film « Limbes Bardo THodol » (2015, FR, 55′) which becomes now « LA GROTTE » et George Christian Vilela Pereira made the music for ita friend’s letter gives some criticism, surely other letters will arrive ; and someone told me: « you have fun making your films, it’s already an achievement »https://www.youtube.com/watch?v=d-I-3CEZwww&t=1821s