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Influenced by the musician troublesome existence, the four pieces of this Mother’s album are part of a very specific mood that frame it in a well-defined territory.

Recorded live at home, Mother uses field recordings and whatever he can find (guitar, organ, improvised objects as percussion) to express a personal urgency that conveys a feeling of claustrophobic stasis that persists even if continuously broken into.
For this no titled album, Mother physically rumples the tape to get a stretched and slowed down voice transforming his songs into an unrelenting and perverted trip hip hop noise outcome, where unintelligible lyrics mingle with twisted beats. A deep sweet and sour darkness in form of perverted songs as if in a collaboration between William Burroughs and Martin Rev that leave the listener with the feeling of floundering in the mud but still floating.

This album is a goodbye before a metamorphosis/exile that will keep Tommaso away for at least one year. A sort of exorcism, an offering to the winner and to the defeated, prelude and prologue at the same time.

"What matters in the end is that Mother reminds us that in spite of all the gentrification attempts, the polishing and the attention to the urban renewal, the dark, esoteric and post industrial soul of Turin is always there, ready to be sung about by whoever is capable of consorting with it" - Sodapop


With "II", Yuko Araki delivers an album of multifaceted noise fused synthscapes mixing pulsating rhythmic sound frequencies and powerful synthetic sonic layers.

Her exceptional sensibility in processing extremely heavy and dense sounds makes the result sounding like nothing else you heard before: a thousand leaves oscillation sound at the same time rooted in Japanese noise but also totally different.

Intergalactic noisescapes.

"II is made up of ifve incredible tracks that create an intense soundscape. It's a great synaptic ride" - Echoes and Dust