Radical, minimal, built on a constant tension: "CU" is an album of skeletal techno/dub architectures, drenched in accelerated loops, disorientation and loose-limbed progressions of peripheral industrial.
Dario Picchi (aka Soreab), an Italian producer and artist who relocated to and remains highly active in London's clubbing scene, sounds like the soundtrack to a Will Self novel. Somewhere between the essentialism of Alva Noto and the blind trance reiterations of Underworld, the listen is a headlong descent that blends electronica and grime with an athletic delicacy, obsessive rhythms, feedback and glitch shards. The music strains toward the starkest essentialism, only to uncover the perversion of pushing repetition to the brink of possession.
Composed during a delicate period for the artist, "CU" in fact stands for "Constantly Unstable", framing the work as the strobing reflection of an alarmed mind, caught between alienation and paranoia. This state of existential agitation erupts into a troubled journey into the self, stirring anguish, quickening palpitations, forcing movement, amid flashes and inner eyes blinded by paroxysm.
The hypertrophic basslines, saturated sounds and pitch-black electronics heighten the sense of oppression: the tracks seem locked in, writhing obsessively inside a metal cube with no way out.
Notable is the artwork on the cover, where the tangle of white and gold lines on a black background was derived from a digital reworking of "Fall And Recovery", a modern dance technique devised by Doris Humphrey in the 1920s: you deliberately lose your balance, and in falling you try to harmoniously regain stability, only to let yourself fall again from the new position. The dance was reproduced and processed by artificial intelligence, which drew out its vectors of movement; these were then painted by brushes mounted on mechanical arms.
A work that traces a futuristic schizophrenia, bouncing wildly between manic trance ("CU3") and shadowy industrial down-tempo ("CU6"). To start listening is to take the red pill, letting yourself be dumped, along with wreckage and amniotic fluid, into the cruel world of machines at ballistic speed - reflecting, in the process, on one's own unbalanced life.
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22/03/2026
This article is an English translation of the original Italian text by Luca Viti, 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.