Melisa Aller – DESTRUKTION

DESTRUKTION is the second studio album by Melisa Aller, one of the most singular voices of the new generation of contemporary experimental cinema. In this work, the artist timbrally dissolves and detonates voices and immersive textures, overflowing forms and anti-forms through meditative, mutable and unpredictable rhythms. The album intertwines the depth of synthesizers and the use of cassette recorders with the fractal rawness of organic glitches and soundscapes in constant metamorphosis.

DESTRUKTION is conceived as a continuum, meant to be listened to from beginning to end as a single entity. Although structured in four parts, the album proposes an uninterrupted listening experience.

DESTRUKTION does not mean destroying the world, but rather dismantling the historical, symbolic and conceptual layers that have accumulated over experience: a movement of return toward what precedes the concept, what precedes language. This album situates itself within that descent. In the mystical tradition, this passage has been named the dark night of the soul: a time of loss, silence and disorientation.

DESTRUKTION passes through that darkness. In certain passages, ritual chants emerge, belonging to a symbolic technology capable of suspending the everyday order and opening a threshold.

DESTRUKTION articulates an untamed philosophical and anthropological dialectic: clashing postulates, sounds oscillating between noise, unsettling drones and a chaotic energy of an almost sacred nature. The world becomes unstable, allowing access to another time, prior to fixed form.

This second album reveals meticulous production and a radical exploration. In DESTRUKTION, Melisa Aller dismantles any doctrinal body inherited from her first album in order to open a ceremony of solfeggios.

Melisa Aller (1979, Buenos Aires, Argentina) is an experimental filmmaker and composer. Her work explores the intersections between analog cinema and sound. She has a background in law and political science and is currently a PhD candidate in criminal law and human rights, as well as a university lecturer and researcher.

For more than two decades, her artistic practice has focused primarily on the Super 8 format, developing a fully analog methodology in which filming and editing are carried out entirely in-camera, without digital intervention. Her films have been presented and awarded at festivals, exhibitions, and cultural institutions across the Americas, Europe, and Asia.

Since 2013, she has composed music for her films and Super 8 expanded cinema performances, translating her analog cinematic process into the sonic realm: recording, recording, remixing, and layering tapes as a compositional method. Her musical work emerges from repetition, transformation, and material degradation, conceiving sound as a temporal and ritual experience.

Between 2020 and 2024, she served as musical curator for the Metamúsica label. She currently co-directs Clara Records alongside composer Flores Babusci, an independent label dedicated to physical editions such as vinyl, CD, and cassette.

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