Shapednoise breaks down Aesthesis, his new LP for Numbers

It’s easy to imagine the kind of sounds that Shapednoise would be expert in conjuring, but nothing can prepare one for the actual end product. Atmospherically intense and rhythmically complex, Nino Pedone’s creations bend the physics of sound, to sculpt some of techno’s most intriguing audio.

Releases have been plentiful – Pedone has churned out 4 albums and 11 EPs since 2010 via the likes of Opal Tapes, Hospital Productions, Key Vinyl and Russian Torrent Versions, all whilst running his own ventures; Repitch and Cosmo Rhythmatic.

From the 2010’s Noise Collector to 2016 EP Defining Chaos Serenity, Shapednoise’ cathartic exercises seem as poignant and striking as ever – the perfect time to lock in with the Italian and talk all things Aesthesis; his latest work on Glaswegian imprint Numbers.

‘Intriguing (In the End)’ feat. Mhysa

Shapednoise: The opening track of the album has lyrics and vocals by multimedia artist and poet Mhysa. At first, I produced the music and sound design leaving space for vocals to be added. I shared the instrumental with E. Jane (Mhysa) and she came up with ideas.

E. Jane: When I heard the instrumental I was very interested in flows like Marilyn Manson’s in ‘This Is The New Shit’. I wanted to give that sort of energy but also was thinking about industrial music and Evanescence lol. For the lyrics, I was thinking about a scorned lover at the end of a relationship but also imagining a future where Black people received reparations from the United States government akin to how traditional blues songs in the states were often loved songs written in a metaphor to talk about problems with the state.

‘Blaze’ feat. Justin K Broadrick

Justin and I have known each other for a long time since I opened the Godflesh concert at Berghain in 2013. We previously made a track together on my last album and I was excited to work again with him for “Aesthesis”. I started creating the beats and sound design, then sent everything to Justin and he played bass guitar and other synths on it. The track has strong energy, and I think its slow brooding pace is just as important.


It is inspired by the so-called phenomenon, “Soundcloud Rap”. The idea was to use classic elements from trap music like distorted kick drums, shuffled 808 hi-hats and flutes. All these elements were heavily sculpted and processed in order to create a new advanced and colorful composition.

‘CRx Aureal’

The idea behind this track was to make something rhythmic and fast that would work on a dancefloor. I wanted to create a physical response and experimented with the structures and distortion to build a feeling of momentum.

‘Moby Dick’ feat. Drew McDowall & Rabit

The album closer is a collaboration with Drew (McDowall, ex-Coil and Psychic TV member), and Eric (Rabit from Halcyon Veil). It’s dub, noisy sonorities and pitch-shifted voices designed to create an explosive ending. The collaboration was spontaneous, Eric (Rabit) is a friend of both Drew and myself, and Drew was telling me that he really loved a track Eric and I had made together on my last EP. It was challenging and exciting to produce, and the first time I’ve worked with two artists in the same production.

Aesthesis is out now via Numbers.

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