ESMA is Eugenio Squarcia, a young Italian musician of less than thirty years, who lives and works in the city of Ferrara. Despite his young age he has behind him a vast work of sonic production. More than 20 self-produced disks which many are digitally availables into his bandcamp's website online store.

This last work by ESMA, titled "the Lost Atoms", however is also the first of his records to have a physical form, as it is printed and distributed by a new Italian independent label with a real strange name: "la cantina appena sotto la vita" (in english: "the winery just below the waist"). A new label that looks carefully at various kind of borderline productions. The same label, for example, has produced the debut work of another interesting Italian group, the "Margaret Lee", who despite being far away from the electronic sounds with his record the "Ballad of Beelzebub" is just outside the schematism of many rockbands, not only italians.

This album follows, after only a month, another equally interesting work by ESMA. A mini concept album called "The Archive - Soundscape from the exhibition" that is also the soundtrack composed for an installation whit artworks of the visual artist Marie Josee Cornello. The previous work of ESMA, which I highly recommend, is a good example of best synthetic atmospheres for a dark ambient of minimal electronic, that certainly would not mind at Brian Eno's fans. Among them there is surely also our ESMA because, as he says, Eno is one of its main figures of inspiration and education into the way to a personal search for a new electronic sound.

If the previous album is the dark and concise side of ESMA, this work "the lost atoms" is perhaps its most practical, conceptual and cultured component. 13 tracks with a frequent presence of abstract piano melodies who appears, sometimes, really suffered. That in some places they also underline a poignant and growing to emphasize a crescendo for a construction of an ambient tissue, rhythmic and poetic. Many songs, as we see clearly that the presentation of his work gives us ESMA, which suggest a conceptual influence arising from the literary works of William Butler Yeats. Some tracks like "No place for love and dream at all" or "the Shell" are filled with a rarefied and esoteric mystical influence that becomes the instrument of a simple sound, a sound born dark and deep but able to assume a new form of sonic beauty for his death and rebirth. So you would expect to see sprout the down from behind the "obscured clouds". clouds obscured by the darkness of night, a new dawn full of gold. A Dawn of gold rises, from behind the clouds obscured by the darkness of the night.

Into one of best tracks of this work, the mellow "Xibalba", also the title become a prelude for an explicit reference to the poetic vision of an ajar door on the afterlife underworld. The same vision narrated by the myths of the Popol Vuh. In other passages, such as the beautiful "White Road" or "Approaching the pneumatic void" we find instead musical glitch sounds and new forms of sonic minimalism able to regain possession of the noise and the sound. The young son ESMA, in most passages of his electronic songs like these, we instinctively returns the weight of an idea. Perhaps the same idea that our founding fathers, as John Cage or Steve Reich, had around the breathing sound of music.

The ESMA's music is, for this reason, electronic music for the mind, which borders on research and experimentation that most cultured. But it is also the music of sound more alive within us all, that vibrates to the rhythm of the heart and breathing. A music to listen on headphones, at high volume, while it's raining outside.
A music to let us listen, rapt, the last void spaces of this time in which we live. A time walking, with us and beside us, "obscured by clouds" above a weeping piano