“Music in the conventional sense is important, but it is not the only valuable thing in life, and it is not the only valuable art form. If you’re in the mood for dancing or a singalong, you’re not going to pick abstract soundscapes for the soundtrack, but there is a time and place for the kind of thing that Silent Chaos does. It’s the kind of thing you let wash over you and don’t need to analyze. Close your eyes and let the obscure sounds conjure an imaginary journey in your mind.”

“Technically and visually art cover, production , complete design “descriptions”, deserve the highest possible positive ratings. Judging by the complex arranged sound and concept, the duo faced numerous electronic challenges, of which dark ambient, dark wave, and to a lesser extent noise/industrial tracks, are clearly visible. The themes of the tracks differ from each other, and the atmosphere is also different, as well as the not infrequent change of mood, which passes through the offered sound challenges. Silent Chaos have avoided the trap of “entering” or “passing” through different time frames, and their release can equally be treated as relatively modern, but also as one that embraces older expressive values.”

““Every human being has become a living set of data and a potential content creator. The Music Hall is now a bespoke information collector, gathering data from the people and the activities occurring there, via a bespoke network of different sensors, which will be visualised live on the screen. Silent Chaos analyze and decode the world through the use of new technologies. By creating unusual instruments, which can include live plants, to play in their performances, they research and experiment with new media, live video manipulation, sound-driven video and creative coding. Co-commissioned by Aberdeen Performing Arts And New Media Scotland’s Alt-w Fund with investment from Creative Scotland.””

““SURROUNDSOUND @ BAS9: SOUND FOUNTAIN AT MARISCHAL COLLEGE sound has commissioned four unique soundscapes to complement the fountains outside Marischal College in Aberdeen. Ross Whyte: Fountain Tree Pippa Murphy: Marischal Fountain Bea Dawkins: As the Fountain Silent Chaos: L'Oscuro Oceano dello Spazio Infinito (The Dark Ocean of Infinite Space) Each piece is inspired in a different way by the movement, the rhythm, the sound and the play of light on the water.””

“The video for the opening track, “Nocturne on Ganimede,” provides a good introduction to their esthetic, especially given that visual presentations are part of their normal operation. Another great track is the album closer, “Adonai’s Calling - The Hail of God,” which actually does feature a beat at times, though it’s far from a typical electronic program. Silent Chaos may not be what you want to listen to every day, but with Macro they’ve released one of the finest abstract electronic (or electro-acoustic) albums I’ve heard.”

“The first performance at this year’s festival of the 'Late night soundsessions’ series saw Silent Chaos give an ever-impressive performance, showing off their prowess with electronic composition. The enigmatic duo, Marta Noone and Ugo Vantini, showed their full engagement with every aspect of their sound, manipulating vocal frequencies fed though a microphone and through their modular synthesiser. The drum samples triggered by Vantini’s hands were crisp, clear and well mixed. The sound was evenly balanced and had strong presence without relying on mere loudness alone.”

“Silent Chaos, Cotard’s Syndrome - The Waking Dead (09:01): this duo (Marta NoOne and Ugo Vantini) from the U.K. (Scotland, to be more specific, yet originating from Italy), with a modest discography on their roster, is little more experimental, resulting in a huge pallet of noises and sounds. Their track on this compilation shows their inventive approach. At the one hand, you have those samples, noises, Musique Concrète elements and field recorded sounds; at the other hand, Silent Chaos add many electronic devices and sequenced synth experimentation, with an ominous sphere as result. At the same time, it does sound mechanical yet also transcendental (even extra-terrestrial) in some way. …left alone in the vast outer space…”

“Part of the wonder of Origins is trying to work out how certain sounds are created. Silent Chaos, aka duo Marta NoOne and Ugo Vantini, who formed in Rome, make immense monolithic drones using modular synths, laptop, video and a whole panoply of unusual instruments. Their sound soothes, then warps. NoOne's voice rings out and is processed live, all integrated with tape loops, as distorted 3D images of heritage sites and figurines seem to vibrate. It becomes transcendent, a wholly meditative yet disorientating experience. Reviewed at CCA, Glasgow, Thu 7 Mar.”

“This latest edition features Watchtower and Origins, a double bill of new works by Kin and Silent Chaos respectively. All of this activity is in keeping with the essence of Boyd’s creative philosophy regarding Cryptic.”

“Of Origins, creators Silent Chaos explain: 'The inspiration came from far away in time: we are always searching for a sound, a primeval sound that can resonate in each of us, so since Silent Chaos has been born, we explored the ability of electronic instruments to recreate that sound, in many different ways. Origins is the last attempt of doing so, and the more we go forward, the more we get closer to that primeval sound.'”

“Meanwhile, in Origins, Silent Chaos aim to create “a dark, dream-like environment” exploring humanity’s increasing disconnect with nature. “Those attending the performance need only abandon themselves to the sound and visuals, and forget, at least for the duration of the show, the chaotic world dominated by the technology that surrounds us,” say the Italian collective. They add: “We have worked with many arts organisations in the past, but none like Cryptic – they are what we have been on the lookout for, but have never found – until now.””

“The experimental nature of Silent Chaos’ AV make up forces the viewer to observe and question our relationship to technology; how it dominates so many of our lives and how it has enabled a disconnect with the natural world.”

“Do you have a particular approach to developing your work? Usually an idea for a work come unexpectedly, while we are talking about philosophy and Chief World systems. Once we have the concept we focus on the creation of sounds, of video storyline and on all the technical aspects. Then we refine audio and video at theirs best, so we can start trying the whole performance all together, that is where we let ourselves go and where the real magic happens.”

“Stepping back to ancient times, Origins aims to regain freedom from technology to reveal ancient human archetypes and ideals that are becoming all but lost. Building tension between structured drones, steady drums and continuously changing and glitching visuals, Silent Chaos create a dark, dream-like environment where we discover a growing disconnect with nature and our true selves.”

“Silent Chaos at the magnificent Kirk of St Nicholas, however, was an entirely different proposition. An inspiring set from the avant-garde electronic duo, perfectly fused with a futuristic light installation, created an ethereal experience.”

“The first duo to perform on Thursday were Ugo Vantini and Marta Noone who work under the name of Silent Chaos. Synbals opened with Marta hitting a small bell like instrument and then Ugo Vantini began activating the cymbals by stroking them with thin chains. Later, Ugo used beaters or just the nails of his fingers to draw different sounds from his cymbals while Marta bowed the Dronin or sang notes, some of them remarkably deep, into a microphone. All these amazing things were amplified or reshaped electronically. The resultant sounds ranged from whispers to explosive roars. They sounded metallic, percussive, becoming almost orchestral or like a large choral extravaganza. Altogether it was new and hugely entertaining to both watch and to hear.”

“A jovem editora russa Distorted Void voltou este mês aos lançamentos através da compilação Forgotten, Abandoned, Desolated. Esta edição conta com oito temas de artistas distintos mas que têm em comum a exploração dos reinos do dark ambient e drone, e que poderiam facilmente servir como banda sonora dos trabalhos de realizadores como Maya Deren ou Guy Maddin. Cada faixa é uma excelente amostra da sonoridade de cada artista e recomenda-se a audição dos seus restantes trabalhos, como os novíssimos reworks de duas composições de Atrium Carceri pelo projeto NERATERRÆ, o disco Deathscapes do grupo Psionic Asylum, Osclltr​/​/​/​/​012 dos escoceses Silent Chaos, o já extenso catálogo de Noctilucant ou Dark voice Of Angelique, ou ainda os álbuns mais recentes de Moloch Conspiracy e Urs Wild, ambos editados pela Eighth Tower Records.”

“El dúo italiano Silent Chaos está formado por los geniales artistas Marta Noone y Ugo Vantini, invitándonos en su nuevo álbum a sentir estos vientos sonoros underground transformados en dinámicos movimientos musicales de más de diez minutos de duración cada uno, salvo el último tema “Beyond Reality” con poco más de ocho. Cuatro espectaculares y sorprendentes temas vertebrando el álbum “Osclltr////012”, convertidos ya en una virtuosa demostración de talento musical mediante la inteligente utilización de equipos musicales electrónicos como los sintetizadores modulares o la batería electrónica.”

“Silent Chaos livre dans cet album une musique dont les expérimentations sont à la fois riches et variées. Le duo déploie dans cet album des variations qui provoquent l’inattendu. Entre sonorités inédites, poésie électronique noire et sobrement évocative, Silent Chaos est parmi les groupes de musique expérimentale les plus intéressants. Si la part d’improvisation est sans doute importante, c’est la façon dont les musiciens savent jouer avec ces sonorités qui rend certains passages finalement classiques, tant le langage du groupe emprunte à différents genres de musiques, de la techno au dark ambient ou du Power electronics à la musique concrète.”

“Vlad talks to Ugo and Marta from Silent Chaos about coming out of the prog rock scene, the album Micro, archetypes, technology and its effect on us, music as ritual, Greek philosophy, Plato, and how we're unfortunately in the kali yuga.”

“Marta and Ugo surely have a bent for sonic explorations. This is a “you don’t know what to expect around the next corner” type of album. What is obvious from the very first listening to “Micro” is their affection for analogue means of expression. The sound is cold, but clear and sharp like a razor which serves the atmosphere they’re trying to create… an atmosphere that reminds me of dying technology long after it reached its peak and now slowly heads towards entropy.”

“Fear and elevation. That's what this sounds like. It seems that SILENT CHAOS are attempting to bring the listener into their own brand of higher consciousness. The realm of metaphysics interpreted as a listening experience. Many artists have attempted this idea for many years... But few have been as successful as SILENT CHAOS.”

“Silent Chaos est un jeune duo italien – Marta Noone et Ugo Vantini – estampillé sound art. Cet album pointu s’engouffre dans une recherche matériologique concernant la métamorphose des ondes, motifs et timbres sonores. Il s’appuie conceptuellement sur la cosmologie néoplatonicienne et sur les avancées théoriques et théo-philosophiques de Plotin, en particulier dans sa recherche sur l’articulation entre le fini et l’infini, le micro et macro, et les correspondances entre l’univers vivant, la totalité et la nature humaine. Par essence, cet album se dévoile à l’auditeur comme expérience sensible, cognitive et affective portant sur le son perçu comme un corps infiniment manipulable, modulable par des expérimentations soniques, mais aussi comme vecteur de spiritualité. Micro s’échafaude autour d’infinies mouvements, bifurcations, sonorités fractales et non localisables, en rhizome et admettant tout un ensemble de connections foisonnantes.”

“With sheets of Doppelered synths, Silent Chaos returns us to the theme of King Midos’s imprisoned and deformed son. The famous labyrinth of Greek mythology. A countdown to the brokenhearted tears of a just ruler mourning his slain offspring. Here sorrowful, warped strings sag with longing against primitive pounded toms.”

“Back on track again in our search for new discoveries we bring you today an eclectic ambient experimental duo coming from Rome, Italy. They are Silent Chaos, but before anything you should know that this guys are not messing around. They are deep into dark ambient and creepy atmospheres. As the name says the music transport you in a special mental chaos to another dimension. A silent chaos where the property of a complex sound whose behaviour is so unpredictable as to appear random, owing to great sensitivity to small changes in the frequencies and colour of the rhythm itself.”

“Silent Chaos is a project I recently became familiar with through their album micro [review found here]. Their track here, Daedalus of possibilities is one that comes from that same album. While it drips with significance on their own album, forming a very important part of their catabasis narrative, it forms an equally important but very different piece of the puzzle here. We are finally given some mythological connection in the anthology to the most well-known labyrinth of all time and the man that helped engineer an escape. The track grounds the listener once more, after spending several tracks meandering through our subconscious.”

“Ipnosi è la parola chiave per definire quest'album (micro). - Nel frenetico mondo di oggi dove la musica è ridotta alla sua parte essenziale, il consumo rapido e veloce e la struttura semplice per essere ricordata il più facilmente possibile e quindi accessibile a tutti quanti, il lavoro dei Silent Chaos invita a fermarsi e riflettere presentandosi come una fagocitazione della società consumistica e una rielaborazione della stessa ad una pulsazione più lenta e dilatata.”

“La première chose qui interpelle chez Silent Chaos n’est rien d’autre que son nom. Le paradoxe évident que constitue un chaos silencieux donne déjà de sérieuses indications sur la teneur de la musique des italiens. Marta Noone et Ugo Vantini ont mis leur travail en commun sous la bannière de Silent Chaos pour donner naissance à un album éprouvant, abscons, et diablement insondable. Cinq titres de belle longueur au programme, et une atmosphère pesante qui va crescendo au fil de l’écoute. En effet, micro a toutes les cartes en main pour vous offrir un voyage psychotique que vous n’êtes pas prêt d’oublier.”

“As a matter of small recompense this is Italian duo Silent Chaos with a track prized from a new Eighth Tower gathering entitled ‘Daedalus of possibilities’. A hulking slice of darkening isolationist ambience cut to a sonic calibre not unlike those emanating from out of the dark side of the much admired Boring Machines imprint, the tones dense, tense and somewhat submerged in a hazy fog, prowl the shadowy terrains like some huge leviathan, amid the bleak oceanic swathes ghostly echoes on looped replay usher in and out creating an eerie atmosphere, ever deeper into the belly of the beast the sounds shift into a sharpening focus and a petrified perspective revealing sorrowfully sighing gloom draped spectral chamber opines, the effect it has to be said, forging a kinship with James Hamilton’s The Keraunograph Ensemble.”

“I cinque brani che caratterizzano questo esordio discografico - micro - espressione sintetizzata di un anno di concerti multimediali, performance teatrali e radiofoniche, prove e sessions di registrazionie - documentano perfettamente questo osmotico sodalizio, votato alla sonorizzazione inquieta e destrutturata, ma sempre seduttiva, grazie ad un magnetismo obliquo ed indiretto che accompagna incessantemente i quasi 50 minuti in cui si sviluppa l'opera tutta.”

“Silent Chaos clearly are musicians, you can tell from the quality of the sound and the production. micro is not a random assortment of sounds cobbled together with lots of loops and reverb to make it sound interesting and deep. Silent Chaos is not that sort of modern art rubbish. This is chaos with a purpose, a purpose so vague and shadowy that it may well seem like chaos to those of us who don’t understand, or can’t understand, would truly see it as chaos. In truth, even though the name of the project is Silent Chaos, everything on the album has an order. It is a wild assortment of sounds and loops and drones and percussions but each nail and screw is placed perfectly so. micro is order out of chaos.”

“La nostra musica si nutre del tempo non lineare, in una circolarità concettuale di suoni antichi e futuristici; i pezzi evolvono in modo spiraliforme, la musica è strutturata ma non prevedibile, in una composizione estemporanea derivata dall’improvvisazione. Passato, presente e futuro si uniscono mescolando sonorità antiche a stravolgimenti elettronici, filtrati attraverso le esperienze musicali personali. Nelle nostre composizioni la disarticolazione della voce e l’assenza di testi stanno a rappresentare la frammentazione dell’uomo contemporaneo, sradicato dal proprio passato – incarnato nel mito – e dalle radici della propria psiche, trasformato in un automa senz’anima.”

“Gli ossimorici Silent Chaos si definiscono “un duo, o meglio, un tutt’uno musicale”. Sono Ugo Vantini, “cresciuto e sviluppato in un brodo primordiale denso di progressive rock contaminato dal jazz e dal classicismo” e Marta Noone “che si è nutrita di musica industrial riecheggiante in costruzioni gotiche permeate di scariche elettriche”. Quello che fanno è musica elettronica estemporanea, dalla quale “affiorano echi di musica concreta, cori, suoni tribali, noise e ambient”.”