T/M/K

"With each new release the Italian group THEE MALDOROR KOLLECTIVE crosses the boundaries of the music avangarde. Starting with black metal outbursts, they have come trough marriages with industrial, jazz and even opera. On their newest mini-album entitled "Themes for Proxima" THEE MALDOROR KOLLECTIVE dove into cold dimensions of brave electronica. Music from this release was used in the Spanish movie production "Proxima", which only enhances its artistic value. Unpredictable and conventional, melodic and deconstructive, calm and frantic. The art which cannot be passed by unnoticed. Only the band with such an experience could compose music that is so mature. A bunch of critics have already compared them to ULVER, both in terms of development and breaking all the rules. If one takes this theory as true, then "Themes for Proxima" is for THEE MALDOROR KOLLECTIVE what "Lyckantropen Themes" was for ULVER." - From Foreshadow HQ -
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Someone said they walked over the wreckage of what extreme rock has been, and now its hard really hard to see the features of their beginning. Giving the start in the nineties to the compelling transformation of Italian extreme metal into a loud melting-pot of non aligned sonorities, T/M/K raised the stakes of musical action developing a continually morphing sound on which the boundaries and taboos of Occidental culture seem to fit in a candy & creepy puzzle representing counter-culture pills, human garbage and esoterica in a full speed Cadillac run.
Ars Magika and In Saturn Mystique (1998 & 2000 a.d.) were the first chaotic and vociferous outbursts into blackened metal and horror sounds, then New Era Viral Order came out from the blue. Primarily, its Asimov robotica applied to rock, to electric extremes and mechanical drum-guitar dynamics. Also, a freakish run into cybernetic ambiences looking for a door opened on post-modern shamanism. This album is considered by many to be the best work in T/M/K architectures: we do not agree, obviously. Not only cause other albums have been released after and other projects are developing (and could we resist to say that our last album is of course our best album and all the usual musicians mumbo jumbo?), but cause its simply a demarcation line.
Over 15 years of activity, T/M/K pushed the accelerator and defined an instable musical hypertrophy sometimes acclaimed sometimes blamed by fans and critics. Popular music tools have been re-arranged as instrument themselves: blues/jazz fragments, electronica designs, math-rock collapses, soundtrack imprints, noise glues and industrial fall-outs become simply parts of a sharp complex engine. Beating both acoustic and digital paths, T/M/K managed collaborations with eclectic artists all around the world in the 23 Miles back on the Clockwork Highway, the ideal second act of the A Clockwork Highway release, signing an effective hit into sound paradigm shifting: from Mick Harris of Scorn fame to Eraldo Bernocchi dub spirals; from the technocratic ambiances courtesy of Bad Sector to CTRLer junglen bass slashes; from Nordvargr dark industrialization to Mikrokilla rave intrusions, the album marked the line of new T/M/K path.
Then, a collaboration with industrial father zev synthesizes into another lightning bolt of rock drifts and digital manoeuvres, finding its place into the edge-breaking Pilot (Man with the Meat Machine) recording sessions.
Creating anxiety through accessibility and deviancy through modern noise, T/M/K established a balance through genre busting scenarios and provoking conceptual background, applying chaos magickal creative inputs to musical writing process: the group is intended to be an open and flexible line-up for free thinkers and sound adventurers.
Official albums: