Dimuzio* ‎– Sone Songs

Realization Recordings ‎– RZC-005
Cassette, C60


A1 Burlapse Plight With Coin Donkey 13:28
A2 15 9:50
A3 Cloudmouth 3:19
B1 Ult/Daythe 11:07
B2 Mitre Dispence 2:02
B3 Black Stime Vice 15:42


  • Artwork By – Anne Bonham
  • Sampler [Digital], Effects [Processors], Mixed By [8 Channel], Performer [Midi Remote Controller]Thomas Dimuzio


Solo Concerts 1990

All titles recorded live on respective dates to PCM digital 2 track. No sequencers or background tapes employed.
Titles compiled and transfered to analog 2 track during November 1990 at Gench.

A1 & B2 recorded live at Mellon Institute, Pittsburgh 9-13-90.
A2 & A3 recorded live at New Music America, Montréal 11-3-90.
B1 recorded live at Generator, NYC 3-17-9.
B3 recorded live at Sonic Disturbance Festival, Cleveland 9-15-90.

Packaged with two overlapping j-cards: one black & white, one color with tracklisting and liner notes.

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May 18, 2012
A solo album by this guy, playing digital samplers & processors through an 8 channel mixer, all tracks performed live & the sound impressively clean & exciting. Side one begins with the oddly-titled "Burlapse Plight With Coin Donkey" recorded live at the Mellon Institute, Pittsburgh on 13/9/90. It is a gradual journey through a ravaged soundscape, twisted sculptures of tortured, petrified metals, red-hot images burning alive with sentient electricity; broken, destroyed post- human life-forms, plagued by Industrial diseases, decaying by gradual process back into primeval goo. The sounds, full of colour & texture, reflecting light as if metallic, form dangerous structures, inspiring inner visions with their coldly inhuman beauty. It moves through strange images & structures, again inspiring inner visions of bizarre cities, wrecked & decaying, where hi-tech has reached a point of spontaneous evolution & simultaneously the species which created this spiral down through exhausted, oily air & environmental decadence, in an ever-slowing dance of devolution, "15" was recorded live at New Music America, Montréal on the 3rd Nov. 1990, burning, tortured electronics & mood atmospherics all combining into a THROBBING GRISTLE-like image-provoker, a blighted, rotten, almost virally contaminated series of sound impressions, a cold wave horror chill movie soundtrack without need of the accompanying visuals. It moves on, visiting hollow sites where the ghosts of past lives dance around the lurking spectres of war & atrocity, noises from machine & scrapyard mutate into yet new lifeless forms, twisting around one another. "Cloudmouth" was also recorded at the New Music America in Montréal at the above date, another strange structure, this one somehow more composed, bearing more relation to music while simultaneously being coldly Industrial. It moves in metallic sequential cycles, thrills of cold grey sound splashed across the bare-hone background of a variety of noises.
Side two opens with "Ult/Daythe", recorded at the Generator in New York City on 17/3/90. It opens like several broken & fragmented layers of feedback moving in & out of phase while a horn-like loop sounds in the background. suggesting tints of Neo-Classical Serialism along mixed into the shifting layers of machine-birthed sound. A passive passage, an uncomplicated yet ever-listenable journey through sustained sound which however avoids any suggestion of tedium. "Mitre Disperse" was recorded at Mellon Institute Pittsburgh on the 13th September 1990, a more dense deep hum of background noise & Industrial ambience (the escaping of gas & the distant high whine of machines) mix with snatches of voice & other sounds, mixing & melding into another THROBBING GRISTLE-like piece. "Black Stime Vice" was recorded at the Sonic Disturbance Festival at Cleveland on the 15th of September 1990, the longest track here at 15'42", another journey through bizarre & twisted sonic sculpture palaces, a somnambulistic drift through nightmarish worlds peopled by seemingly inanimate things which on closer inspection contain a brooding malignance gravid with pollution, an instant viral infection just one brush of tentacle away. From this point it moves on, never visiting anything recognizable Earthly, yet always fascinating, always an undeniable siren-call to the brave explorers soul. Great sheets of machine sound rise up like leviathan bodies, hidden in bassy, amorphous depths, drawing the track, and indeed the album to a simple echoed close.

An amazing album & an absolute must for those who collect & enjoy the older school of Industrial music. Chilling mood music with many hidden tunes & some grey-coated golden moments.

Originally reviewed for Soft Watch.