Im Begleittext heißt es: “The creative process behind the album is straightforward. Froz explains, “I plundered old, battered techno trance records to create the album and manipulated them using the humble-but-iconic sampler, Bastlr’s Microgranny.” The album was produced during a dark period of isolation in Froz’s hometown. Reflecting on the origin, Froz recalls, “I remember being at my mum’s place for my Christmas holidays some years ago. I was browsing through my record collection to kill time and stumbled upon this terrible batch of techno trance records I don’t remember ever buying. Skipping through them, I found some quieter moments that compelled me to quickly digitise them before I knew what to do with them. When I finally got back home to London, I transferred those clips to my Microgranny, and that’s when the fun part really began for me.” Despite its conception, Froz’s approach to the subject matter of rave culture is indeed tongue-in-cheek. He finds ‘chinstrokey’ takes on the same theme often dull and uninspiring. While Froz has never experienced a rave like Kirby or Senni, his upbringing on UK electronic music has given him “rave flashbacks” that are counterfeit, mediated from someone else’s recorded memories. This approach aligns with artists like Burial, who also utilises sampled ghosts from a rave afterlife. With a runtime of just a quarter of an hour, Rave Flashbacks offers a short yet immersive experience—a fleeting dream or a haunting nightmare—just before waking up to another dreadful day of work”.

@ Il Froz

cross-section of who we are as individuals, beyond the musician masks we wear in front of others”. Sebastiano de Gennaro ergänzt ““The release opens with a song that we performed for the first time in a live set last year at the Puntuale Festival in Settignano [...]. Coming Together by Frederic Rzewski has a strong political stance, albeit veiled by the symbolism of the text and a hypnotic musical treatment, which I enjoyed reworking to give our interpretation a different touch from the versions already available in the market”. Die konkrete Umsetzung und Ergänzung des ausgesuchten Materials folte strengen Entscheidungen: “Precisely because of this veiled symbolism, I decided to interpolate the original text with some data taken from the latest report of the Antigone Association”, erklärt Francesco Fusaro. “Coming Together was born in response to the 1971 riots in the prison of Attica, which caused 43 deaths. Given what happened during the pandemic, which continues to happen in our prison system, adding a part in Italian to the original text lends Coming Together with an updated interpretation of the context in contemporary Italy“. Das Album erscheint als CD und Download.

19m40s @ Bandcamp

“19’40’’’s fifteenth release 19’40″ entirely produced by Francesco Fusaro. Inspired by Ludwig Wittgenstein’s Tractatus Logico-Philosophicus, English composer Cornelius Cardew wrote Treatise between 1963 and 1967, consigning to history one of the most extensive and elaborate graphic scores ever produced. It is a 193-page long musical work featuring various symbols, some of which recall conventional musical notation, others are lines or abstract shapes. The score of Treatise is not accompanied by any explicit instructions for the performers on how to perform the work, or which musical instruments should be used, how the pages should be read and in what order: all performative choices fall entirely on the performers.” (19m40s)