The connection binding music and science fiction is a well-established one, a deep bond that has never stopped being active. From the experiments of electronic avant-garde, through the cosmic declinations of so much rock, to that fertile territory now fully rediscovered that is the world of soundtracks composed between the 60s and 70s, the two fields have maintained constant contact in the attempt to find an exact correspondence.
It's no surprise, then, to find in our hands an anthology that revives such symmetry, drawing both unreleased and previously issued tracks from the Italian electroacoustic underground. It's promoted by the Trieste Science + Fiction Festival on the occasion of its 2024 edition.
Electronic manipulation remains the field of choice, dystopian vision the most explored attitude. Not surprising, given the state of the world we're immersed in. The sound of the siren that opens the dizzying stereo panning of Malasomma's "Permacrisis", whose disruptive effect we already appreciated on the solid "Neolingua", is emblematic of this direction. Following in its wake we find the incisive, icy landscape drawn by Tristan Da Cunha and the gripping, claustrophobic dark-ambient of Chaos Shrine, the project bringing together Paul Beauchamp and Andrea Cauduro.
Less interesting are the results stemming from blatantly retro-futurist trajectories, stuck in an imagery that's all too nostalgic, indebted both to kosmische textures and to the synthwave modulations of the post-punk era. Partially standing apart from this is the hypnotic development of Turin's SabaSaba, while Blak Saagan dresses it up in cinematic darkwave shades.
Closing the collection is one final image generated by the brilliant inspiration of Martina Bertoni, who, through the resonances of her cello and nervy electronic modulations, shapes the perfect ending, projecting us into a deeply profound and highly emotional inner Space. A kaleidoscope with variable results, but always captivating, capable of renewing an alchemy that has never gone dormant.
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11/11/2024
This article is an English translation of the original Italian text by Peppe Trotta, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.