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23 Aug 2016

Albergo Intergalattico Spaziale “Albergo Intergalattico Spaziale“1978 Italy Electronic Avant Garde.Private



Albergo Intergalattico Spaziale “Albergo Intergalattico Spaziale“1978 ultra rare Private Italy Electronic Avant Garde

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Albergo Intergalattico Spaziale  is the creature of Giacomo Di Martino, known as Mino, who boasts an extraordinary artistic career. First with the beat group Gli Amici, then guitarist with I Giganti, then in the Supergruppo (with Ricky Gianco, Victor Sogliani and Gianni Dall'Aglio) and again in the Magnetic Frame together with Franco Battiato, Juri Camisasca, Roberto Mazza and Lino Vaccina with which records the legendary "Live '75". In the Magnetic Frame also appeared the actress Edda "Terra" Di Benedetto, at the time the wife of Mino Di Martino. Evidently the sound experiences of the Magnetic Frame left a deep trace in the two, so much so that in 1978 they founded the Experimental Intergalactic Hotel (from the name of a room opened in Rome by the couple, 

Mino Di Martino, evidently already profound connoisseur and admirer of German cosmic music, went on to play keyboards and compose experimental music, electronically supported by singing, or rather by vocalizations (nothing to do with the horrors of Yoko Ono) by Terra Di Benedetto . A series of traces and samples recorded during 1975 took shape and then merged three years later, in 1978, into the eponymous album, the only true product of the duo's discography....verso la stratosphera...~ 


Electronic prog “supergroup” formed by Mino Di Martino, Albergo Intergalattico Spaziale released in 1978 what I consider to be part of the finest albums produced in Italy. Curious, enigmatic, fractured and gorgeous, this albums features dense electronic soundscapes, including inspired analog synth excursions, classical music tendencies and off course massive “cerebral” avant gardist fantasies. “Live Pistoia” features loving spacey electronics, emotionally expressive and technically complex. The composition is punctuated by discreet, ethereal female voices. “Phasing” is a graceful, lyrical composition for voices and “dreamlike” synth chords. “Senza Titolo” features contemplative choirs, adjusted by electronic effects. A haunting, semi-acoustic song. “Tastiera solo” provides analog synth textures for a rather “fantomatic” symphonic “trip”. It gives gorgeously “creepy” tones, notably taken from classical music pieces. “Improvvisazione” is a tasteful lyrical synth composition including bizarre vocalisations. “Tracce” is a sort of strange and “hypnotic” electronic exercice for repetitive patterns and crystalline pulses. The bonus track called “Hymalaya” is a totally painful melodic pop song that brings nothing to the rest. Deeply recommended for fans of “baroque” Italian prog and kosmische electronics. …..~


Italy, 1987. Through three abrogative referendums, citizens decide (very briefly) that the country's energy will no longer come from indigenous nuclear sources. Before this time, four plants are operating in our country, and since the previous decade there have been concerns and protests. 

These could take various forms, more or less unusual, and among others take that of a disk, to the accuracy of a concept album that reads in the cover notes "Blocking the energy plan is the last chance we have to control our madness, change the model of development of this civilization and open a great debate on how to manage our desires " . A somewhat anomalous and almost unclassifiable disk, although usually inserted within that multifaceted psychedelic world, populated by groups with the most improbable names and the most absurd inspirations, known as "Italian prog" . 

But when in 1978 comes out Albergo Intergalattico Spaziale, the first and only album of the homonymous band formed by Giacomo "Mino" Di Martino dei Giganti and his wife Edda Di Benedetto(called Earth) the golden age of the wave has already passed. Moreover, the chronological reasons are not the only ones for which it is arbitrary to place it in the prog, indeed these would be the least relevant: the group, called as the local that the two ran in Trastevere, had worked on the songs between '74 and '76, and it is not by their will if the album comes out only two years later. The reason for the delay is to be found in the logic of etiquette and laws of the market: the duo has a contract with the EMI which, however, when he hears the result of the recordings, refuses to publish it, citing the following reasons: " Shit, there's not even the bass and the battery? ".
Maybe someone had underestimated the evolution of Di Martino, his listening not exactly national-popular ( LaMonte Young, Philip Glass, Steve Reich ), participation in the project Magnetic frame , underground frequentings, made is that actually in the album (which finally sees the light without supports, neither EMI nor others) there is very little of the innocent beat of the Giants , or pop in general. 

Also experiments and barocisms à la Balletto di bronzo seem "easy" and outdated, in comparison: on the cover, edited by Virna Comini and Ghigo Agosti, stands a skeleton holding a sign that reads " Ne m'approchez pas! Je suis radioactif! "(Do not approach! I'm radioactive!), And the content is no less disturbing than the image. 
No fantasy scenarios and lysergic hues typical of the most british prog prog, absent also the barricadera fury of the most politicized fringes, not to mention the hippie optimism. Instead, a desperate resignation and landscapes of a lunar spectrality already post-atomic and post-punk resound. Drawings of keyboards, synths and vocals with an avant-garde, gloomy, perturbing, strident trait, made of dissonance, silences, screams, sighs, with a hymn to joy mentioned several times but always in ways distantly distant from Beethoven's romantic triumphalism: these are the Sound squares opened up by the Intergalactic Space Hotel on a world close to becoming only a plain of ruins. 
It is a record that could be the soundtrack of the journey among the ruins of a veteran from an apocalypse, and if we consider that at the time of publication incidents like those of Three Mile Island or Chernobyl have not yet occurred, we understand that we are before a of those cases where it really makes sense to use the word avant-garde....by...letizia bognanni....~ 


This debut, self-titled album is the only release from Albergo Intergalattico Spaziale, which is upsetting, because this is some seriously great enigmatic progressive electronic. This album is unique in that vocals are featured on most of the tracks, and they’re done wonderfully. Of course, the Italian language is well suited for musical use, and that shines on this album. On some tracks, the vocals carry the real melody while avant-garde electronic experiments fill the background. Besides the vocals, these tracks all vary quite a bit; you’ve got avant-garde-electro sound barrages (“Live Pistoia”), mellow ambience with experimental accents (“Phasing”, “Senza Titolo”, “Tastiera Solo”, “Sabbie Vergini”), dramatically lush soundscapes (“Improvvisazione”, “4 tracce”), “Bariazioni su ‘angeli di solitudine” is a bizarre vocal solo, and “Hymalaya” is a pre-new-age pop track that would be well suited for slow- dancing. Out of all of the prog electronic artists and albums I’ve listened to, this album is definitely one of the most complete. If you can get a chance to, this an album to check out. 
I have no internal qualms about calling this album an enigmatic masterpiece of the genre. Fans of electronic music and avant-garde music should take great notice of this album. It’s sad that this is their only release….. ~



After the demise of I Giganti in 1972, their guitarist Giacomo Mino Di Martino made a surprising switch to exploring the keyboards, dedicating himself to Avant-Garde Music.Along with his wife Edda “Terra” Di Benedetto he participated around the mid-70’s in the Avant Rock supergroup Telaio Magnetico next to Juri Camisasca, Franco Battiato and Lino “Capra” Vaccina.Reputedly in 1976 Martino and Di Benedetto formed the Experimental/Prog duo Albergo Intergalattico Spaziale, named after a club they owned in Rome, recording a work, which did not see the light until 1978, when it was privately released in a limited number of copies. 
This has to be one of the most experimental, sinister and genuine Electronic Prog albums of the 70’s with Martino performing on various keyboards and his wife being responsible for the haunting vocals of the album, much in Spoken Word style with plenty of wordless voices and some lyrics close to the Hebrew or Arabic languages.The album alternates between dark-sounding organ improvisations, muddy chants and ambiental soundscapes, borrowing influences also from Psychedelic and Classical Music, and eventually delivering a total mess of keyboard-driven textures, that is both enigmatic and charming.The combination of mourning vocals and eerie synth- and organ sounds is absolutely efficient, while Martino’s work breaks often into more romantic, spacey grounds, offering Electronic themes with finesse and a unique atmosphere.While the album wins a personal style of its own at the end, some BATTIATO and KLAUS SCHULZE influences are apparent through the process.Even more surprising is the fact that after the listening of such a dark-sounding and extremely bizarre album, the feeling is quite positive, giving birth to dreamy and ethereral emotions comparable to many of this effort’s soundscapes. 
Martino and Di Benedetto continued to be strongly connected to the territories of Electronic and Avant-Garde music over the years, while an archival release of early demos by the duo, entitled “Angeli di solitudine”, was released by Giallo Records in 2009. 
Extremely obscure but deeply inventive and fascinating Electronic Prog.Highly recommended to enthusiasts of the style and strongly recommended to anyone with open ears and bright horizons…. by apps79...~


An obscure and unique piece of early prog electronic from Italy. Pretty much at the end of the early years of electronica in general, Mino di Martino began work on an album comprised of various electronic sounds and synth bars. In fact, some of the material early on this album might best be called synthprog. Seemingly taking off from a purified take on White Noise’s “The Visitation”, he crafted a dour record of beautiful yet bleak electronics ruminating on nuclear weapons. His wife provides some wonderful, eerie vocals throughout. In spite of at times sounding partially dull, the music proves a fantastic listen. The partially synthprog opener “Live Pistoia”, and the strange, haunting “Improvvisazione”, driven by unintelligible yet gripping vocals from Benedetto, are the two greatest tracks. As a whole, barely a dull moment, and the good allows listeners to forgive the rare bad. Really a neat lost piece of prog electronic and Italian music, this comes recommended, another 4.5 worthy of being rounded up rather than down. ……~ 


After the huge success of his previous band I Giganti in the 60’s, Giacomo “Mino” Di Martino totally dedicated to exploring avantgarde music, forming this duo with wife Edda “Terra” Di Benedetto after a short spell with a group called Telaio Magnetico. Albergo Intergalattico Spaziale was the name of a private club in Rome owned by them. 
Their only album, privately released in 1978 but recorded a couple of years before, contains keyboard music in a similar vein as many german cosmic music LP’s or some of Franco Battiato’s experiments, with the organ as main instrument, only accompanied in some parts by Terra’s voice. The album was intended as an anti-nuclear message. The result is a difficult LP, that can be interesting for those into Battiato’s early works. The 37-minutes long album is enriched, in the recent CD and vinyl reissues, by the dreamy bonus track Hymalaya, more accessible than most of the LP. 
After the album Di Martino and Terra have followed their experimental path with many concerts until the 80’s, and Mino also released in the mid 90’s a theatrical piece, Le campane del gloria, based on film director Pier Paolo Pasolini’s poetry with help from former Stormy Six keyboard/violin/guitar player Tommaso Leddi. …… ~


Much-needed reissue of this Italian cosmic/electronic masterpieve, extremely obscure but deeply inventive and fascinating album issued at the time in a handfull of copies containing insert and poster, all faithfully reproduced here in a spectacoular re-edition limited to 200 copies (numbered) in black vinyl extra track included 180 grams vinyl. Electronic prog “supergroup” formed by Mino Di Martino, Albergo Intergalattico Spaziale privately released in 1978 but recorded a couple of years before contains keyboard music in a similar vein as many german cosmic music LP’s or some of Franco Battiato’s experiments, with the organ as main instrument, only accompanied in some parts by Terra’s voice. Curious, enigmatic, fractured and gorgeous, this albums features dense electronic soundscapes, including inspired analog synth excursions, classical music tendencies and off course massive “cerebral” avant gardist fantasies. “Live Pistoia” features loving spacey electronics, emotionally expressive and technically complex. The composition is punctuated by discreet, ethereal female voices. “Phasing” is a graceful, lyrical composition for voices and “dreamlike” synth chords. “Senza Titolo” features contemplative choirs, adjusted by electronic effects. A haunting, semi-acoustic song. “Tastiera solo” provides analog synth textures for a rather “fantomatic” symphonic “trip” 
It gives gorgeously “creepy” tones, notably taken from classical music pieces. “Improvvisazione” is a tasteful lyrical synth composition including bizarre vocalisations. “Tracce” is a sort of strange and “hypnotic” electronic exercice for repetitive patterns and crystalline pulses. Deeply recommended for fans of kosmische electronics. ……~. 


After the experience with the Giants, Giacomo "Mino" Di Martino, together with his wife Edda "Terra" Di Benedetto (with whom he already shared the project Magnetic Frame in 1975), puts into practice his studies of avant-garde music started once the collaboration with the group "Earth in the mouth (poetry of a crime)". 

The two, in 1975, opened in the Trastevere district in Rome a room called Hotel Intergalattico Spaziale (from which they then take their name for their performances), in which they develop their ideas proposing evenings based on music, theater and video projections all in avant-garde style. 

In recent years, the duo has begun to create his own works, some of which will only see the light in 2009 in the album "Angels of solitude" - Provis unpublished 1974/1996, and propose them in live shows. Then, in 1976, he enters the orbit of EMI proposing them to make an album. After the work of study, the same label, almost horrified to listen to the final work, refuses to publish it and solves the contract. 

The artists, fortunately for us, do not give up and, thanks to the local that guarantees them a good income, they manage to recover from EMI the rights and the matrices of the songs, so in July 1978 they print (with the addition of other tracks) Hotel Intergalattico Spaziale . 

The work focuses entirely on the use of Di Martino's keyboards, in which there are strong similarities with the pieces of the Magnetic Frame ("cleaned" of wind instruments and percussion), but also references to the Experimental Battiato and cosmic couriers (see Tangerine Dream or Klaus Schulze, for example), and on the extraordinary voice of Di Benedetto, a further instrument. The work follows a main theme, that of the fight against nuclear power (much felt in those years), but does not look exactly like a concept album . 

The album opens with Live Pistoia and, right away, the guidelines of the album are confirmed: keyboards very close to the German cosmic couriers intertwined with Di Benedetto's ethereal voice. It is above all the first part of the piece that faithfully follows this track, while in the second we find only Di Martino who performs debit edits towards the Battiato di M.elle the "Gladiator". 

Phasing . Synthetic carpet and text ( [...] We travel in space / in search of our history, / of the original essence / between billions of solar systems [...] ) recall very closely the experimental Battiato, the only difference with the artist from Catania is the characteristic voice of Di Benedetto. 

An incorporeal synthetic layer (a bit like the Tangerine Dream) wraps the entire Untitled . 

Keyboard only contains a series of digressions by Di Martino, from the cosmic references to the homage to Beethoven's Inno to Joy, passing through restless and other hypnotic atmospheres. 

Improvisation in practice continues the previous passage. After a brief digression keyboard, the two artists intertwine their voices (other references to Battiato), before Di Benedetto takes the scene in hand and launches in the song of the hymn to the joy mentioned, musically, in the previous passage. Great voice. 

Various synth sequences intertwine in 4 Tracks to create a chaotic tangle that fades with the passing of seconds. A cross between Persian Surgery Dervishes by Terry Riley and The magic prism or Gli Hins by Arturo Stalteri. 

It is Di Benedetto's spectral vocalizations to open Variazioni su 'Angeli si solitudine' , then the singer herself begins her solitary, ill-singing song about Angels of solitude, a passage recorded a few years earlier (the text is an esoteric poem dedicated to Max Ernst) , but remained unpublished until 2009, when it appeared in the album "Angels of solitude" - Unpublished test pieces 1974/1996. In this case the angel is the same Di Benedetto, with his celestial voice, which sings without musical support, therefore in solitude. Great vocal test. 

With Sabbie virgins reappear keyboards to act as a light evanescent background on which stands out again, the otherworldly voice of Di Benedetto. 

A further piece, Himalaya , appears in the 1994 CD reissue . The atmospheres are maintained on the levels of the eight original songs with the voice to be the master on the keyboards, the only difference is the presence of other instruments such as drums, bass and guitar which, however, have an almost marginal task....Hamelin Prog....~ 








Line-up / Musicians 

- Mino Di Martino / keyboards, vocals 
- Terra Di Benedetto / vocals 


Songs / Tracks Listing 

1. Live Pistoia (7:58) 
2. Phasing (2:31) 
3. Senza Titolo (2:30) 
4. Tastiera solo (5:21) 
5. Improvvisazione (4:46) 
6. 4 Tracce (4:48) 
7. Variazioni su “Angeli di solitudine” (7:20) 
8. Sabbie vergini (2:05) 
9. Hymalaya (4:25) 

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