"Global Network Of Aural Disorientation" - Formed in 2014, Unexplained Sounds Group is a record label curated by 'Sonologyst' (Raffaele Pezzella) investigating and showcasing music from around the world, which is edgy, noisy, experimental, modular, ambient, post-modern and on the fringe of electronic music evolution. Raffaele's search for new music, new frontiers and talent has resulted in a stunning discography of over 60 albums and numerous mixes over the last six years. The label has also notched an extensive archive of radio transmissions. Music from Iran, Spain, Canada, Italy, Russia, Mexico, USA, Scandinavia, the Balkans, the African continent and many more regions and diasporas is audible on the label's rich collection and repertoire. The label's discography contains a vast spectrum of sound and music, which is far from the hegemony of commercial genres and formats. Even as the label's curation is centred around organic, non-commercial and 'unexplained' ethics, the massive variety of the published music itself speaks of diversity, talent and sheer persistence. We spoke to Raffaele recently about the formation of Unexplained Sounds Group, his inspiration to pursue experimental electronic music at a global level, and the pathways and discoveries of a 'Sonologyst'.
What motivated you to create the label - Unexplained Sounds Group?
The creation of Unexplained Sounds Group’s was a typical consequence of the new millennium and internet based communication. After years of sharing music, curating DIY projects, writing reviews, and articles online and on social media networks, the community of musicians that I was communicating with, suggested (and some even forced me) to create a label. Thus, USG was formed in 2014. It wasn’t an idea that I mused alone in my bedroom, but a collective effort. Brainstorming with many people, listeners and artists, some of who continue to follow new releases and projects curated by USG.
You are a 'Sonologyst' ? Define your work?
Early 90's, I was fascinated by the works of Brain Eno - His musical progression of the 80s decade. The 1982 album “Ambient 4 – On Land” is one of my favourite Eno’s records. I loved the nickname “Sound Architect” that people used to define Eno's works. Many years later, I started to think about something similar, in order to represent my ideas and aspirations and the name 'Sonologyst' (literally someone who studies sound) seemed apt to describe what I was envisioning and heading towards.
What challenges do you face as a curator?
The main challenge is to understand, to build awareness, day by day, the music phenomenology in a world that is constantly and rapidly changing - and to give my expression of what is going on... Sometimes I would like to take a break and simply listen to a good record, but I know that would last just for a couple of days before I think about how to engage with the music in some way, and create something on my own. That’s my daily drug. For that reason I love to host a weekly streaming radio program titled “The Recognition Test”. Confronting in real time, with many people while the transmission is live is very stimulating - and it’s like a test (of recognition indeed) about the work I’m doing. It's an important aspect of the process... Personally I don’t consider myself to be a sole custodian of the featured music, so I need to get feedback from the audience, before releasing something new.
What are the principles behind the curation of USG?
I ask myself that very question a lot... What’s the next step? Am I doing it right? What’s the mission? And most importantly - what's the overall vision? Looking back, at when I started, the principle objective was to produce stimulating and innovative music projects, featuring talent from all over the world. Over the years many new ideas and pathways appeared. For example, the need and scope to explore the experimental and alternative music from non-western countries. The whole south of the world, scenes within Africa, Asia and South America - leading to the “Sound Mapping” project. That was because I realised that the majority of listeners, even so most experts, often ignored the music scenes from these vast regions of the world. Unaware of the scenes and the talent. The diversity aspect has become a very important facet behind USG's curation, however not as a singular focus. Perhaps it was due to the growing scope for this kind of work, that I felt the need to create 'subsidiaries' like Eighth Tower Records, ZeroK, Big Cypress Swamp... I wanted to continue to take care of other aspects and vistas of music as well..
Future paths and plans?
Theres lots cooking in the pot at the moment! For USG, I am curating certain challenging anthologies from countries and artists speaking about their music scene - yet to reach out is not so simple, or even to manage such initiatives... About Eighth Tower Records and ZeroK, the connection between music projects and other forms of art like literature (dark fiction and non fiction) is going to be the core focus. In 2021 I aim to publish a book of tales, featuring 27 writers, who wrote original stories based around the theme of a music compilation by Eighth Tower Records. While about my own music I’ll release a couple of works under the name Sonologyst. Also planning the launch of a side-project, to venture into new kinds of sound exploration - connecting my own music to emerging forms of visual arts and expression...
