Just over a year ago, I spoke about his "Glass Orchestra EP", named after the title of the song that a Sicilian wine company commissioned for an original advert, a taste of the musical wit by Italian composer Mario Bajardi, who recently signed the third release for ONDE Electronic Contents, the sister label of Paolo Bigazzi'Iter Research. The title track "Inverse" opens the release by means of sizzling beats and metallic hits that got combed by airy layers of violin that flow into a carillon-like melody, a sort of robotic cardiac resuscitation whose style could surmise a combination between the ones by Funckarma and Apparat. The following track "Crusty" follows a similar strategy, but he inoculates spelling bees and a floating piano melody in the lively rhythmical patterns. The only vocal track "Rest" is the one which I enjoyed less, but I could assume that its very simple structure could act like a transparent veil in order to let listener appreciate the voice of Eleza, the singer of Teardrop-Glory Box cover (2008). Mario inoculates harmony within harshness in the central track "Interlude" before steering further more chilling and cinematic sonorities ("Standing", "Missing"). The remix of "Crusty" by talnted Italian sound-artist Carlo Ascrizzi doesn't upset the delicate balance of "Inverse".

There no introduction to this release except from the line up of the band (Dr.Lops: keys, modular synths; Ugo Vantini: electronic drums; Amptek:b synth guitars, analog sequencers; Carlo Micali: sound engineer) and the liner notes stating that this live was recorded on two tracks i.e., no overdubs. However Entropia's music could be roughly described as techno with a splash of ambient.
The release is divided in two parts: the first one is composed of four solo track: "The Great Escape From The Holographic Sanitarium" and "Fight The Winged Dragon" are from Ugo Vantini and they are minimal tracks based on the manipulation of the rhythmic sources and so they are more atmospheric than hypnotic. "Modular From Cassilde Hell" is from Doc Loops and is a crossover between a noise track and a sci-fi oriented synth track. "Supercluster Blaster" is from Amptek and it sounds as more oriented towards kosmische musik as the sound of the guitar is so effected that it's closer to a synth.
Then it starts the part featuring all the band and, instead of being the mere juxtaposition of the elements of the solo tracks, there's some elements emerging from the interaction: the rhythmic cages reminiscent of certain techno, with convincing results especially in "Memories Of An Electric Circus" and "Dance U Sob", which moves the result from the relatively meditative territories of the first part to more danceable one until "Nasty Tales From The Maudit Stage" marks a final part with a more attention towards the sonic construction until "Inner Spooky Universe Paraphernalia" closes this recording blending all the elements of the previous tracks.
This is a release oriented towards a very defined audience that could appreciate the craft of exploring this clearly defined genre while the others could be a little disappointed by the absence of any deviation from the canon. A nice release.

It's pretty weird the first language for a set of human sentences included in the messages to the universe in one of the two golden phonographs, that are supposedly wandering in the universe through Voyager 1 and Voyager 2 like a bottle in the ocean by the inhabitants of this planet, was Sumerian. Believers of the theory of Ancient Astronauts could think it was a pretty ironic choice and maybe some of them could argue that this mission is a possible NASA hoax. Whether these space missions are real or not (this is not the space to discuss this thread), the simple idea that there's something surfing the deep space to testify that something's happening down here on "the third planet of the star Sun" (a quote of the sentence in Oriya language of these human greetings, attached to a set of images and music, selected by a commission led by Carl Sagan in the late 70ies) is a romantic source of inspiration for many earthlings, including the one of Carlo Monti - another Carl like Sagan...-, a young Italian guitarist, who moved into the territories of experimental and ambient music after years in the ones of prog-rock. Given that it's just his debut, this student of Music Information Science at the University of Milan explores a theme on the nose of many musicians, but he made it in a somehow original way. He also included some samples taken from the NASA Voyager Golden Record (no need to sign a waiver, as it's a Creative Common), but the most interesting aspect is the emotional framework that he evoked over this stream of clues and traces of human civilization. The graceful elongations of piano chords in the initial "Faded", the seemingly chaotic radio signals of "Perpetual Angels", the hyper-effected synth brasses and the vitreous consonances of "Oceanless", the meditative halo of "A Prayer" and the distant fluctuation in the infinite evoked by the boundless digressions by the final "On The Share" match the atavistic feeling in between astonishment and anxiety of those inhabitants of this planet, who didn't forget to be part of something bigger than the deceptive fences of private property yet. Available in digital format as free download according to NASA samples copyright.