by Boris Nad
“ThuleSehnsucht In Der MaschinenZeit” – TSIDMZ – is not a music band, but a project, concept, idea, backed by one man: Solimano Mutti. The name of the project (in German) means: “Nostalgia for Thule in the Time of Machines”. The nostalgia for the Pole, the North Pole, for Hyperborea; the nostalgia for Eternity. Why in German? We assume that this is an associative connection with the thinker who is in the twentieth century’s deepest contemplated technique and glimpsed a mysterious being who hides behind it: Ernst Jünger and his Worker, the mythical figure of our time, “time of machine”, which he described in his cult book “Der Arbeiter”. TSIDMZ is an Italian post-atomic/electro-martial project with numerous influences from various genres within the field of electronic music. It was born and conceived between 2002 and 2007. Its purpose is to be “as eclectic as possible while remaining faithful to its aim (S. Mutti).”
A New, Scary Aeon
“Nowadays we are not so much at war against a nation, against a phenomenon, against a party or a political idea, but rather against the emergence of a new and scary aeon, an aeon that will sweep away traditions, will invert values, will annihilate and will replace the deep, real and spiritual essence of human being with fake, low and demonic identities. As consequence we need to be Futurists: looking to the future and to the technique as a continuation in respect to the past and to the Tradition.”
So TSIDMZ enjoys the Eurasian idea, concept and theme: social equilibrium, overcoming of every ideology, a metapolitical and metaphysical Weltanschauung to regain Eternity in the post-modernity.
Thule (Ultima Thule) is a primordial space, “a physical place probably, but a metaphysical one undoubtedly.” Recall that, according to the Indo-European mythology, peoples who once inhabited the lands of Eurasia were descended from Thule. It is a space of beginning; the exact equivalent of the biblical Eden. Nostalgia for Thule is nostalgia for the past and nostalgia for the future.
In the machine age techniques, electronics, electronic music and every form of industrial art becomes imperative. TSIDMZ heroically call for the creation of a new man – a man who will be integrated with the machine, has to be a master of the machine, and not a slave or a victim anymore. “As a result, it will create an artistic identification that will give us a new identity, new identity appropriate to the Worker, as Jünger understood it.” The Planetary Worker, who is a mythical figure, the Titan of the new era, while the technique is just the way mobilization of the world is done through this figure.
The Coming Era of Eurasia
Eclecticism is a natural and necessary choice in the age of technology and machines, in the postmodern era in which it will be returned Eternity. Also, for TSIDMZ it is another important principle – the principle of cooperation with other artists and authors, including appearances and track collaborations. “The eclecticism as a method of work is a way that the music not be boring, to keep alive the attention of the listener and to give space to all my musical influences. Unless you’re not a Mozart, collaboration (with other artists) becomes one of the most valid tool to keep the project always full of proposals and to improve the ideas. Collaboration with artists I like, I listen and with the ones I share many points of views, means then to enrich my style, to improve and to mature in terms of technique, concepts, contents and messages (S. Mutti).”
The Eurasian Artist Association – EAA is a free, international association of artists who adopt Eurasianism, on the premise of the “Fourth Political Theory” of Alexandr Dugin, as a transnational, metaideological and metaphysical art project. EAA, in a way, is the anticipation of the future multipolar world, the anticipation of the upcoming era of Eurasia, where the boundaries of identity are not dissolve in uniformity and traditions do not dissapear, but are continually updated and given life. The list of authors of the EAA are from a range of countries that is impressive and includes, among other things, the Macedonian band “Mizar” (today “Mizar – Fifth revelation”) and the Macedonian author Goran Trajkoski.
Musical Dedication to Donbass
The Music compilation “Donbass”, as a result of the collaboration between authors from various countries, is one of the projects of the EAA: “the musical dedication to that point on the world map where one can now most clearly hear the deadly march of history.”
“The musicians participating in this collaborative effort, each in his own way, try to take a look in the face of war with unmost honesty and see in its blind eyes the reflection of their own main fear.”
“The goal of the compilation,” remarked Solimano Mutti “is to talk about the terrorist war against Russia, paid with death by the civilians in Donbass; a war that the Western media and Western politicans (with few exceptions) are still lying about when covering.”
“A human disaster (financed, trained and pushed by the United State’s government and the EU dictatorship), that until now has created two milion refugees (half in Russia and other border countries and half in other cities of Ukraine and 50.000 victims (according to the German secret services).”
Symbol of the Primordial and Not-Physical Motherland
My collaboration with TSIDMZ began in 2013, about the time the EAA was created, in the first period of this association. The third person important for this cooperation, and the EAA project as a whole, is German singer and songwriter Rudolf Seitner (of the German project “Sonnenkind”). The collaboration has come very naturally, easily and spontaneously. Sol Mutti expressed his desire to make music for my text “Ithaca”. The first idea was to have a female vocalist and that part of the text was to be spoken in Serbian. We ran into a number of barriers, because of the physical inability to realize this idea. “Ithaca” was finally recorded in a studio in Milan, Gabriele from the Italian band “Corazzata Valdemone” reciting the text. Snapshot “Ithaca” is on the TSIDMZ album “Ungern von Sternberg Khan” (CD, Album, Enh, Ltd, “Old Europa Cafe”, 2013). Its premiere, the first live performance was at the festival in “The Theatre” in Milan, on September 7. 2013. The video of that performance can be found on YouTube.
Another video that was produced in cooperation with TSIDMZ is “War Song (God of War)”, in collaboration with “La Derniere Attaque” and “Sonnenkind” (vocals by Rudolf Seitner). This song, along with two versions of the song “Itaca” – a studio and live recording was done in live performance TSIDMZ, at the festival in Milan – and the neoclassical “25 Days Of Gods”, which is a result of the collaboration with the Spanish band “Suveran Vanguard”, are recorded on the EP “Sailing To Itaca” (TSIDMZ featuring Boris Nad) (CDr, Mini, Ltd, Num), which was published in 2014 by the label Skull Line in Germany.
The text “Itaca” can be interpreted in various ways. For Solimano Mutti, “Itaca” is “symbol of the primordial and not-physical motherland; a symbol of spiritual origin,”. “Itaca” means a journey through the modern era, through war and anarchy, to the other side of the modern era – to the homeland and the beginning. “25 Days Of Gods” is inspired by a description of the Slavic pagan funeral ritual, which has left behind by Al Massudi, and “War Song (God of War)” is dedicated to the Bloody Baron – Baron Ungern von Sternberg, a historical figure very important for the Eurasian Movement.
Edited by James Porrazzo for Open Revolt. All errors are my own.