Category Archives: Riccardo Mazza

Italian Body Music

Riccardo Mazza’s first release in Yerevan Tapes is called the Hierarchy of Being, and each of its songs is a document from a journey through tundras of abstract menace.

Imagine the albino geology at the beginning of The Thing, and the unspeakable things that happened there, and then…go there. Although the underlying feeling is whatever exists a moment before horror reigns supreme, the channels through which it arrives are diverse: we roam the dissonant mists of an Anselm Kiefer nightmare; we infer alien cultures from a tablet found in the ice, we jack to the heartthrob of the beast in an abandoned hangar.

In h.b.t., we rediscover a black slab with Severed Head’s lost remix of Liars’ They Were Wrong So We Drowned, the one that disappeared from their studio after that power cut when the shadows came alive, and a sulphurous stench engulfed everything. The synth arpeggio in this jam is the meanest thing we’ve heard since Golden Teacher’s Dante and Pilgrim, and we need to say no more.

RM – h.b.t.

The Hierarchy of Being comes out on the 22nd of this month on on white tape cassette limited to 100. Pre-order here.

Alessandro Alessandroni is a total legend. He was the twangy guitarist and master whistler in Ennio Morricone’s soundtracks for Sergio Leone’s Western trilogy. He himself has soundtracked everything – from horror to eurotrash to porn. He has created transcendental lounge wonders the likes of you you won’t believe…

…but we’ll tell you about all these things some other day. Today we stick with the theme of Italian Body Music, and bring you ‘Heavy and Light Industry’, an Alessandroni library music LP released in experimental label Coloursound.

In it, he creates the sonic backdrop for a hauntology of research and development and continuous manufacturing processes, its syncopated rhythms represent the march of progress and its materialistic cornucopia at their most terrifying, ending with the grotesque carnival in Karl Marx’ dance of commodities, where humans become machines and machines come alive.

It’s scary because it’s true.

And if Akira had been a 1970s defcon-2 spy-fest starring James Coburn, Work Cycle would have provided Tetsuo’s theme.

Alessandro Alessandroni – Work Cycle

More information at Discogs.