GALATI - Drift

Roberto Galati and Francis Gri are two pillars of ambient music in our country, both with very long discographies that have spanned the last twenty years of Italian music without ever lowering the bar. "Drift" thus emerges from a dialectic between two very different musicians and from a strong duality that the authors describe as disorientation and beauty. It's an encounter that avoids any easy synthesis, finding its expressive strength precisely in tension.

Roberto Galati, who has devoted his entire career to the wilder side of nature, pursues a search for disorientation: his textures strip away coordinates, remove any foothold. The tracks move like dense fog, crossed by drones that offer no stable center and generate instability. Galati works through fractures, cracks that make the listening experience fragile and unstable.

Francis Gri, on the other hand, comes from a career more focused on the hidden, magical side of sound, in search of a sudden beauty that can arise almost by chance from the encounter of different notes and timbres. Gri seeks beauty without relying on reassuring melodies: he digs into the fragility of a sound that is matter, and that disintegrates even as it's being played. His contribution doesn't soften the picture, but makes it more complex and layered.

There's an idea running through "Drift": the world isn't changing, it's crumbling. Not with apocalyptic clamor, but through a slow slippage. The record sounds like the soundtrack to this present that is crumbling before our eyes, amid invisible cracks and silent drifts.

Tracks like "Dusk" exemplify this duality with suspended piano notes, electronic backdrops and subterranean rhythmic pulses. The greater complexity of "Void" follows the same trajectory with more elaborate timbral solutions, while the tension becomes extremely dense in "Fear", where fear finds a temporary opening in Gri's sparse notes.

A dialogue that is neither conflictual nor fully at peace. Galati shatters and Gri recomposes, ahead of a collapse that now seems inevitable.

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22/02/2026