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Electrons (new edition)


Electrons 08:33
LHC 02:24


As the theory of the atom, quantum mechanics is perhaps the most successful theory in the history of science. It enables physicists, chemists, and technicians to calculate and predict the outcome of a vast number of experiments and to create new and advanced technology based on the insight into the behaviour of atomic objects. But it is also a theory that challenges our imagination. It seems to violate some fundamental principles of classical physics, principles that eventually have become a part of western common sense since the rise of the modern worldview in the Renaissance.
The aim of any metaphysical interpretation of quantum mechanics is to account for these violations. In this theory, the electron had maintained some measure of identity as an independent physical system. Even this was lost as the electron continued to mutate into forms ever more remote from Thomson’s corpuscles. In the 1967-68 Glashow-Salam-Weinberg theory of electroweak interactions, the electron is an even stranger beast: it has massless left-handed and right-handed parts that unite to form a massive particle through interactions with a scalar Higgs field. Finally, in the current Standard Model of fundamental interactions, the electron is a member of the first of three generations of similar leptonic particles that are related in a non-trivial way to three generations of hadronic quarks. With its public person displaying more aliases than a master confidence trickster, we may well doubt that we have or ever will unmask the identity of the real electron in our theorizing. Do we not learn the lesson of history if we cease to take our theories of the electron as credible reports of physical reality? Such concerns have long been a subject of analysis in philosophy of science. They have been given precise form in the “pessimistic meta-induction”: Every theory we can name in the history of science is, in retrospect, erroneous in some respect.
At the moment the question remains: do electron exist or not?

Excerpt from "What Should Philosophers of Science Learn
From the History of the Electron?". Jonathan Bain and John D. Norton.
Department of History and Philosophy of Science University of Pittsburgh.


When I thought to release a CD edition of Electrons previously only digitally released in 2016, I came back to that world of experiments with electronics that I'd been doing six years before. It was like listening to the music of a stranger, not to mention the fact that to create the unreleased track “LHC” I was missing the equipment of analogue synthesizers that I used at the time of the original work. This became a stimulating challenge, a voyage into memories of so many nights spent working on knobs and patches, immersed in the fascination of the quantum physics theory. And rather than a testament of a past music path I was following, it was soon revealed to be an impulse for more experiments to come. This publication is this work, and it comes in the 10th anniversary of the Sonologyst project. I dedicate it to all the followers who supported the project along the decade.

Raffaele Pezzella


released January 19, 2023


Massimo Ricci (Touching Extremes / Beyond The Dust)

Raffaele Pezzella returns as Sonologyst with an album already available in 2016, albeit only in the digital domain. It is a celebration of ten years of working under this banner. The music he recorded using analogue synthesizers, which, I believe, he no longer has. He found inspiration in the world of electrons, including an excerpt from a book, 'What Should Philosophers Of Science Learn From The History Of The Electron?'. However, one is free to enjoy the album on a more fundamental level, taking the music as pure as it is. Over the years, I reviewed various of his works (Vital Weekly 1274, 1225, 1194, 1134, and 1038), and overall I enjoy his work a lot. There might be an element of ritual music that I fail to understand, but luckily, that is not present on this disc that much. His music is very much in the realm of experimental electronics, in which we find traces of pure drone music, early electronics and on 'Electrons' also a bit of noise. The latter he keeps to a minimum, and it works more in the background, adding weight to some of the more upfront delicacies. Even if I take a more romantic notion of electrons, I see this as a work of buzzing and whirring electronics cobbled together and forming a web of its own. Not a straightforward thing, this web, though. You see a general pattern, but there are smaller threads, making new connections that only become apparent later on. There might be a retro feeling here; I am thinking of an old science fiction movie in black and white and Sonologyst providing the rusty soundtrack of it. Dark and reflective, but no doubt, space music. A man shrunk to an invisible size and walked down machines where everything cable and knob was alive. More than the previous works from Sonologyst, field recording seem to play no role, and it is all pure electronics. A slightly different outcome than what we usually hear from him, and a damn fine album at that. (FdW)

Musique Machine

Avant Music News

Dark Room Magazine

Ver Sacrum

Electrons (new edition) is a remastered version of the original 2016 digital-only release – and this time, as well as including a new track (LHC), it is also available on CD. As the album name suggests, the music is here is very much electronic in nature, with pulsing drones, analogue synthesizers, and processed sounds utilised in expert fashion to explore the science and mystery of quantum physics theory. This is a must-have for fans of the more experimental, electronic-based side of the dark ambient genre.
(This Is Darkness)

Sonologyst: analogue synthesizers, processing, mastering.
Published by Unexplained Sounds Group
Cover design by RhaD
2023 © All Rights Reserved


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SONOLOGYST is the solo project of Raffaele Pezzella. With a primary focus on the interplay between music and contemporary mythologies, Sonologyst's music traverses a spectrum between Fortean documentary-style soundscapes and the sculpting of post-industrial auditory experiences. ... more

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