Just when I thought we were out of Italian Library music, Mannequin’s Alessandro Adriani pulls us back in with a dedication to the fêted paradigm .
‘Program & Rhythm’ is effectively Adriani’s lockdown record. Produced over countless hours at his improvised home studio during the pandemic, the album counts some 42 tracks in just over 1 hour, spanning strains of what could be called cues or themes in styles ranging from sleazy to heroic electro, psych funk, experimental industrial and atmospheric “ambient”.
The results lean to what we could discern as late ’70s and Carpentarian, or more predominantly ‘80s Italian library music, recalling Luana Fazzuli aka Alfaluna’s Spaziali albums, but also more hard-nosed aspects of industrial-noise that edges on Maurizio Bianchi levels of terror. Although disjointed thanks to the sheer abundance of gear on offer, it works as a playthrough album with the fractured nature bringing its own narrative into view where needed.
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Just when I thought we were out of Italian Library music, Mannequin’s Alessandro Adriani pulls us back in with a dedication to the fêted paradigm .
‘Program & Rhythm’ is effectively Adriani’s lockdown record. Produced over countless hours at his improvised home studio during the pandemic, the album counts some 42 tracks in just over 1 hour, spanning strains of what could be called cues or themes in styles ranging from sleazy to heroic electro, psych funk, experimental industrial and atmospheric “ambient”.
The results lean to what we could discern as late ’70s and Carpentarian, or more predominantly ‘80s Italian library music, recalling Luana Fazzuli aka Alfaluna’s Spaziali albums, but also more hard-nosed aspects of industrial-noise that edges on Maurizio Bianchi levels of terror. Although disjointed thanks to the sheer abundance of gear on offer, it works as a playthrough album with the fractured nature bringing its own narrative into view where needed.
Just when I thought we were out of Italian Library music, Mannequin’s Alessandro Adriani pulls us back in with a dedication to the fêted paradigm .
‘Program & Rhythm’ is effectively Adriani’s lockdown record. Produced over countless hours at his improvised home studio during the pandemic, the album counts some 42 tracks in just over 1 hour, spanning strains of what could be called cues or themes in styles ranging from sleazy to heroic electro, psych funk, experimental industrial and atmospheric “ambient”.
The results lean to what we could discern as late ’70s and Carpentarian, or more predominantly ‘80s Italian library music, recalling Luana Fazzuli aka Alfaluna’s Spaziali albums, but also more hard-nosed aspects of industrial-noise that edges on Maurizio Bianchi levels of terror. Although disjointed thanks to the sheer abundance of gear on offer, it works as a playthrough album with the fractured nature bringing its own narrative into view where needed.
Just when I thought we were out of Italian Library music, Mannequin’s Alessandro Adriani pulls us back in with a dedication to the fêted paradigm .
‘Program & Rhythm’ is effectively Adriani’s lockdown record. Produced over countless hours at his improvised home studio during the pandemic, the album counts some 42 tracks in just over 1 hour, spanning strains of what could be called cues or themes in styles ranging from sleazy to heroic electro, psych funk, experimental industrial and atmospheric “ambient”.
The results lean to what we could discern as late ’70s and Carpentarian, or more predominantly ‘80s Italian library music, recalling Luana Fazzuli aka Alfaluna’s Spaziali albums, but also more hard-nosed aspects of industrial-noise that edges on Maurizio Bianchi levels of terror. Although disjointed thanks to the sheer abundance of gear on offer, it works as a playthrough album with the fractured nature bringing its own narrative into view where needed.
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Just when I thought we were out of Italian Library music, Mannequin’s Alessandro Adriani pulls us back in with a dedication to the fêted paradigm .
‘Program & Rhythm’ is effectively Adriani’s lockdown record. Produced over countless hours at his improvised home studio during the pandemic, the album counts some 42 tracks in just over 1 hour, spanning strains of what could be called cues or themes in styles ranging from sleazy to heroic electro, psych funk, experimental industrial and atmospheric “ambient”.
The results lean to what we could discern as late ’70s and Carpentarian, or more predominantly ‘80s Italian library music, recalling Luana Fazzuli aka Alfaluna’s Spaziali albums, but also more hard-nosed aspects of industrial-noise that edges on Maurizio Bianchi levels of terror. Although disjointed thanks to the sheer abundance of gear on offer, it works as a playthrough album with the fractured nature bringing its own narrative into view where needed.