Θymoz

Antonio Albanello is the musical mastermind behind the cryptically named project Θymoz. Over the past thirty years his work has appeared in waves of creativity, moving effortlessly between pop and the experimental. Since the 1980s Albanello has initiated and produced numerous pop and rock projects (The Men, Albanello), was a member of the influential group Dnjepr, and has developed concepts for sound installations and theatre music. Today he regularly performs live electronics under the name ozmoZ, continually exploring electronic realms and increasingly composing songs that unite electronic and organic soundscapes. In Θymoz, Albanello brings together long-time musical companion Marco Maria, drummer Manuel Pasquinelli, pianist Maja Nydegger and sound engineer Chris Diggelmann to form a distinctive collaborative ensemble. The development of the album Breed was gradual and took place in several phases. The work began in Albanello’s recording studio but was interrupted by disruptive construction noise, sending the project on a year-and-a-half odyssey. Working from a mobile studio, the material was matured and refined around Bern, by the North Sea and in Berlin; each stage produced new ideas and ever more focused sound-shaping. Many conventional elements were abandoned and familiar song structures were corroded. During the sessions in the Heiliggeistkirche (Church of the Holy Spirit) in Bern, the various parts of Breed were woven together into a cohesive whole, skilfully integrating the majesty of the baroque organ, grand piano, percussion and the building’s vast acoustics into the fabric of the electronic narratives. This bold experimental approach gives the album its singular atmosphere. The ten pieces on Breed speak with few words: the voice is deliberately restrained and the lyrics remain concise, often appearing as lyrical, metaphorical interjections. They convey a sense of transience, loss, sleeplessness and fracture. Breed does not aim for perfection — its elaborate soundscapes, subtle polyrhythms and organic workmanship intentionally reveal fault lines. There is a deliberate impudence in the use of stylistic devices, yet moments of inherent beauty puncture the melancholic veil in the form of melodies, rhythms and layered musical planes.

Bern, Switzerland