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A long story...

Founded under the moniker "Cryptic Sanctum" in Genoa, Italy, September 1989 by James Jason, project's mastermind ever after, and M.C., this one-man band turned its name into "Gothic" in December 1989, when the first demo, "Into the Gothic Gloom", was released. "Into the Gothic Gloom" was a weird crossover between death metal and gloomy keyboard music: hence the definition of "death-gloom metal" coined by James Jason in order to describe the unique Gothic style performed in that unique demo.The following two demos, "Into the Deep Tartarus" (1990) and "Into the Cave" (1991) completed the so-called "Satan's Trylogy" begun with "Into the Gothic Gloom", evolving Gothic's music into a more brutal and faster grinding death-core always played by keyboard with the notable exception of two songs featured in "Into the Cave" where two new elements were added to the band's line-up: Davy Jones (lead and rhythm guitars) and Chris Joint (drums).The "Whispers from the Grave" (1992) demo (where Gothic enjoyed the support of Andy Unders - bass - and Frederick Thomas - rhythm guitar - in 1/2 tracks) detached from the previous style, performing a more articulated death-heavy metal with a odd progressive touch whereas "... and from Hell came the Revenge" (1993) was a sort of challenging demo which mixed the raw power of death metal with the harsh primitivity of hardcore-punk in the first side and those with the dark melody of heavy-synth rock in the second one.After Davy Jones and Chris Joint's departure from the band, James Jason buried the first version of Gothic and went on as a one-man band again, releasing two other demos: "The Pestilence... Post Contagium" (1993), a slow descent into a synth-doom hell and "Dreaming the Apocalypse" (1994), a varied stained-glass window in a complex gothic-thrash-doom-synth architecture.In 1995 Gothic temporarily became a band again, with Davy Jones' come-back and with Ricky F. (drums), Jordan (bass) and Mr. R. (rhythm guitar) joining in two songs of the "Dark Dimension" demo, a powerful return to a heavy-speed-gothic metal guitar sound, enriched by James Jason's dusky church-organ.A new split-up immediately followed this demo and a personal, deep depression led James Jason to conceive and release the "Cold Winds of Suicide" demo in January 1997. "Cold Winds of Suicide" saw the above mentioned Gothic's stained glass-window shatter into multiple musical identities. The final result was the darkest and most experimental demo at that time, mingling the sombre piano sounds of new wave with distorted guitars of death rock and showing in the final track the effective interaction between poetry and music, a kind of multimedia approach in its embryonic stage which will be further developed by the Gothic Multimedia Project itself.Just a few days after "Cold Winds of Suicide" was out, David Bosch began to contribute to the Gothic project as outer illustrator. He drew Gothic demo's covers, previously not provided with a proper cover, from the 5th demo up to the 10th and last demo."Fleeing the Rainland", released in October 2000 as a double-CD, was the last expression of Gothic as a musical one man-band, performing a more refined and baroque combination of different styles, from speed-symphonic metal to gothic rock, from doom-heavy-nu metal to jazz rock even to techno-synth metal through an unconventional progressive interpretation.2001 marked a turning-point in Gothic project's history: David Bosch joined to all intents and purposes the project as artwork man which, slowly and firstly in an unconscious way, was developing from a musical band into a multimedia project.Davy Jones' definitive come-back into the fold in the same year (after a very short interlude with Bacci [bass] and Ricky F. [drums] as additional players) and the add of a new element, John Ruin in the very beginning of 2003 completed the new line-up.Particularly David Bosch's input made Gothic a 100% artistic and not only musical collective marking an important passage toward a closer interaction between graphic art and music.From the other side John Ruin's entry, albeit only as sound engineer in a first moment, changed the ensemble's perspective giving Gothic a more technological approach and opening the doors towards new, more synchretic visions of multimedia art which will be explored only some years after.In this frame "Grim" (double CD + 1 multimedia CD-R comprised with drawings, poetries, 1 video and a multimedia introduction), released in May 2004, was not only Gothic's first full-length but the chapter "zero" of a new, dark and avant-garde entity: the Gothic Multimedia Project. "Grim" is a proto-multimedia work. A work where music became only one single part of an unholy trinity composed by sounds (music), words (poetry) and images (graphic art), all bounded together by means of information technology. Not just in a fullest and synchretical sense of the word "multimedia" as conceived soon after its release since music and poetry were still separated from grahic art in the most of this work, except in the "Forlorn" video which can be considered the first, integrally and extremely multimedia piece released by the Gothic Multimedia Project.Musically speaking, if compared with Gothic's demos, "Grim" marched toward a completely new direction. Dark-wave, electro-goth, trance-core, EBM and IDM were only elements of a huge mosaic shadowed by a background and, most of all, by an avant-garde approach endowing (with different grades) all Gothic pieces a challenging and highly experimental approach.The poetry, a reminiscence of Italian Neo-Crepuscolarismo and Ermetismo, French New-Dadaism and Anglo-American Free-Stream of Consciousness was highly cryptic to be decyphered and hides sombre inner landscapes.The art, though representational, evoked dark symbolisms with a slight surreal perspective.Like any challenging work, "Grim", which was the first Gothic's work to be distributed and reviewed worldwide, received not only enthusiastic praises and many positive feedbacks but some harsh criticism as well.On 15th May 2005 the passage to another way to conceive art came to its ultimate achievement by the "Theatre de la Mort 08" foundation and the on-line publication of its integrally multimedia Manifesto, which is a revolutionary declaration of purposes paving the way for G.M.P.'s following works. The "Theatre de la Mort 08", firstly acted as meeting-point between artistic projects sharing the same interest in multimedia art, then it focused only as G.M.P.'s own, independent label.In September 2007 the Gothic Multimedia Project released an Anti-Box comprised with 4 CDs and 2 DVDs. Odd to say the Anti-Box is, no more no less, four independent yet logically inseparable albums "tainted by G.M.P.'s multimedia virus".The first album, "Whispers from the Gothic Gloom. And a Fiend..." featured selected songs from the first five Gothic demos and the second one, "Buried Lithanies. Undead ?" included songs from the following five Gothic demos. "As Fragile as an Uncanny Cobweb" was composed by those which were deemed as the most representative tracks from the "Fleeing the Rainland" demo whereas "Où les Phalènes Sombrent" included two previously unreleased songs in addition to John Ruin's remixes of two tracks from "Grim". The 2 DVDs gave Gothic fans the possibility to delve with full particulars into Gothic's tormented history, read again by a multimedia approach and so showing at the same time text, music and images. All the songs were re-engineered and re-mastered by James M. Jason and John Ruin.After almost 6 years of a hard and hectic work, "Clam, Dolenter", the new, long-waited Gothic Multimedia Project's opus was finally released in May 2010.The words "Avant-garde" and "Dark" are the only and the best to describe the content and the mood of "Clam, Dolenter"."Clam, Dolenter" is a revolutionary art opus in many ways: for the first time ever this work's user founds himself in a completely virtual, multimedia world, conceived by James Jason, built by David Bosch and made alive by John Ruin, and he has to explore that in order to find the multimedia pieces themselves scattered (and sometimes hidden like treasures) here and there, not just a track-list made and imposed by the artist. For the very first time in G.M.P.'s history the aim of giving its audience a fully synchretical approach to multimedia art is achieved and it's no more possible to separate the music from the poetry and/or from art. David Bosch's art, comprised with paintings, collages, assemblages, sculptures and posters completely integrates with James M. Jason's short-films and videos. John Ruin's multimedia world is the framework where these musical/lyrical/art videos/shorts lays, waiting to be discovered by a brave and attentive user.The music could be tagged as "avant-neo-classical", "electro-goth", "digital hardcore/technocore", "symphonic/noise", "doom metal with grinding elements" or simply "dada music".The art could be labelled as "new-abstractionism", "post-futurist", "post-cubist", "dada", "new-pop art" or "new symbolist/metaphysical".The poetry can be considered as "mysteriosophic", "new-cryptic", "surreal dadaist", "grass roots" while the shorts could fit into Witkacy's Theatre of Absurd or Kantor's Theatre of Death. Nevertheless none of the above mentioned definitions is important. No more. What matters is that "Clam, Dolenter" is probably the first totally multimedia opus, in the most complete and extreme sense of the word, to be released. Its worldwide distribution, even in a bigger scale than "Grim", just despite "Clam, Dolenter" 's demanding artistic content, has to be viewed as a challenge.“Catharsis through Dementia”, multimedia piece from “Clam, Dolenter” was officially selected for The Scientist International Video-Art Festival, which took place in October 8th-10th, 2010, in Ferrara (Italy). The multimedia art revolution began in 2010 and continued in the following years, during the hard making of Clam Dolenter's successor. The G.M.P. recruited a crew comprised of 28 musicians, actors, artists, graphics, technicians in order to craft a completely different work, where the “glue” between the three basic multimedia elements of the G.M.P. (sound, image and word) could be the acting, more particularly in a film.The resulting opus has been a groundbreaking multimedia beast where interaction is taken to its extreme. “Beneath the Snow – Piovono Ombre” is neither a movie nor a musical album nor a collection of video-art pieces nor a virtual art gallery. It's the first specimen ever of multimedia interactive film featuring musical, artistic and lyrical contents. Although the poetries were written in a luxury 32-page booklet, separately from the rest of the work, their cryptic, mystic and visionary power resides in the connection with the multimedia pieces displayed in the opus.“Beneath the Snow – Piovono Ombre” is a complex twist of different stories, between the surrealist film of Lynch and the symbolist theatre of Kantor. Each story is deeply connected to the main story and leads to possible four endings. The windy narrative path twists and turns through a total of eleven “crossroads” where the user is called to choose between two options: the given answer, especially in the first, basic crossroad, entails not only a different continuation of the plot but a completely different multimedia artistic content to be viewed/listened/read. So the user, deliberately and unconsciously at the same time, can determine his/her own plot and which multimedia pieces he/she is going to see/hear/read. This work sets an unprecedented level of interaction between the user and the artistic product, like “Clam, Dolenter” already did six years before, but again in a utterly new and different way.“Beneath the Snow – Piovono Ombre” musical style is quite hard to describe. Electro-goth is still on the background but if the artistic mean chosen by the G.M.P. to survey once again the concept of multimedia art is more accessible than the labyrintic and claustrophobic virtual world of “Clam, Dolenter”, the music proposed here is even more challenging and avant-garde: power-electronics, post-apocalyptic ambient, noise spins along with “dada jazz dark art rock”, concrete music, drone doom metal whereas the two main soundtracks delve, more classically, in the darkwave and in the gothic metal field. One of these soundtrack, “Sons of a Sun without Light” has been released by Gothic as a band formed by James Maximilian Jason (voice, piano, keyboard), Davy Jones (lead and rhythm guitar), Enrico Lanciaprima (bass) and Andrea Di Martino (drums).David Bosch's visionary artwork reaches its apex of mystic horror, delivering more than two hundreds illustrations, the most of them in black and white. The style is closer to figurative, surrealist and symbolist art in order to merge into the multimedia pot of the whole opus.“Beneath the Snow – Piovono Ombre”, released in May 2016, has been publicly presented in an experimental theatre (Teatro dell'Altrove - Theatre of the Beyond) in Genoa, in June 4th, 2016. For the very first time the G.M.P. offers a “live show” of its multimedia work, submitting its work to a public and actively interacting with this during the event, in line with the artistic principles of the ensemble.