Lorenzo Senni

Canone Infinito Xtended

Genre: MODERN CLASSICAL / AMBIENT, ELECTRONIC

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On his striking 1st work in 5 years, the punk-born/rave-based computer composer and leading club deconstructionist yields craftily shifting perspectives on personal touchstones - a centrepiece of 2020’s ‘Scatto Matto’ reframed in tender, beat-less, post-trance formations - RIYL 0PN, Actress, Caterina Barbieri, EVOL.

Now over 10 years since seeding paradoxical ideas of PointillisticT and Rave Voyeurism with his inspirational ‘Quantum Jelly’ and ’Superimpositions’ sides, the multidisciplinary Milanese artist purposefully tilts his PoV to a more melancholic vista in ‘Canone Infinito Xtended’. The shift feels appropriate in relief of his previous work’s breathlessly exhaustive uplift, now reading the room’s need for more reflective states of post-rave imagination by subtly clipping its arpeggiated wings and coming down to a more muted form of ecstasy. That room appears to be the same as depicted in John Divola’s cover image from ‘Scatto Matto’, but from a different aspect; more ruined, liminal, and enervated, yet still lingering in mind with an uncanny, displaced sense of nostalgia that laces much of Lorenzo’s work.

When he first started re-viewing trance from a hardcore punk’s perspective in the mid 2010s, the sound was arguably consigned to a cultural dustbin, but in the years since 2020’s ‘Scatto Matto’, and the C19 lockdown, its revival has been phoenix-like, which makes Lorenzo’s new take on its conventions feel even more curious in comparison. It feels as though the sound’s surface lacquer has been weatherworn with age, and he’s now peering thru grubbier windows from outside on elegant, youthful bodies in motion who don’t give a fuck if it’s an overcooked sound or not, ‘cos it simply works in context of their immediate needs. Ironic distance has been shortened, conceptual windows nearly closed, but Lorenzo endearingly still finds room to manoeuvre in a sort of metaphysical space between, beyond those worlds.

In the process, he allows more touchy-feely sensations and dynamics in a way that recalls the loosening of aesthetic to Roc’s Makina Trax. It’s there in the reverberant space synthesised on ‘Androeda A6 Interplay’, and stressed in the eerie tonal call-and-response of ‘Minimalism on Steroids’, thru a 9 min highlight of emosh kosmiche x post-rock scaping ‘The Romantics Were Prompted’, and what sounds like a Bellows oddity in ‘Drunk Skit’. His ‘XEurekaX Demo’ likewise feels like it's been brined in rave tears and sweat for a half decade, and the sense of impressionism is impressed on his fluid strokes to ‘Trapped in an Oil Painting’, while ‘Equilibrium is Deat’ seals the album’s overarching feeling of AI imitating a Michael Mann OST by 0PN.

MP3 Release (7)