радиосон by radioson
the mysteries and conspiratorial thought that propagate around locations like area 51, the incidents which have taken place in roswell, and the reports of psychic weapons developed through the military-industrial complex are not unique to the united states. there are equally rich parallels that emerge from the soviet regime as wild tales of parapsychological experiments with cruel expediency and reckless testing on human subjects. secreted away within the utopian designs for science city in novosibirsk lies the enigmatic and ominous special department no. 8, presumed to be the research and development laboratory for soviet tools of psychic warfare. one line of research stems from the potential for thought transference to occur via radio waves, originally postulated by bernard kajinsky under the general hypothesis of biological radio communication. the continuation of kajinski's research lead to a the "radio sleep" [rus. radioson /радиосон project of the zombification of a subject by means of radio in the late 1950s, with the test subjects in russia dying off one by one.
it is this lens of the paranoiac aesthetic where radioson emerges. this eponymous release is the first full document for radioson, though its russian engineer is hardly a novice, as this is the work of [s] who has operated alternately as five elements music and exit in grey over the past decade. radioson maintains the representative compositional fluidity as [s]'s other projects, all the while presenting a darker, noisier, more malevolent disposition. disruptive interference, numbers station mechanization, various russian military transmissions, and electrically charged currents of caustic drone are constructed from a position of clinical detachment over the psychic and physical detritus that spills forth in his homeland. the occasionally kosmiche turns for electronic sequencing are a unique take on the schnitzler / schulze strategies from the '70s, though mapped out on antiquated russian synthesizers, tape machines, and of course radios. but the exhumation of things past and the parapsychological aesthetics parallel the best work of andrew lagowski's s.e.t.i. moniker when he recorded for ash international and the psychological dread of industrial ambient practitioners schloss tegal.
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post-industrial research, surrealist collage, refined minimalism, caustic electro-acoustics, sublimated dream-pop, obfuscated field recordings, recombinant noise, existential vacancy, and then some.
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