F.A.R.
Presto i topi verranno a cercarci

True precursors of the Italian industrial scene and beyond, the Savona-based F.A.R. were one of the most interesting and brilliant formations already in the late Seventies, carving out an experimental path of electronic and noise contaminations. Founded by Mauro Guazzotti (now famous for his work with the absurdist rock of MGZ), F.A.R. released in 1987 a fundamental album in their discography, which organically showcased all the ideas developed during the consolidation of their cultural line. A line that drew from the industrial roots of Throbbing Gristle and the precursors of krautrock, journeying through dadaist and Central European suggestions full of irony and irreverent nonsense.

"Soon the Rats Will Come Looking for Us" is a fluid collage of musical moments ranging between dark atmospheres and technological nursery rhymes, at the time confined to a niche with a hefty following of enthusiasts, complete with dedicated distribution channels and a precise commercial policy (the cover featured the statement do not pay more than L. 9000). Produced by Guazzotti with the project's historic lineup, the album benefited from the friendly contribution of Officine Schwartz and an entourage capable of conveying more creative quality than technical skill. After all, F.A.R. were certainly not interested in producing clean sounds, and the entire work (like others before it) had a lo-fi aura essentially suited to the sinister overtones of its titles and various recitations.

Among sirens, percussions, handmade loops, the inspirations of Grazia Stella and the late Iolanda Torello acted as a counterpoint to Guazzotti's overwhelming visionary madness, evoking horror film-like provocations as in the famous refrain through the mowers (borrowed, incidentally, from Officine Schwartz themselves). And if the overall approach of the album seems to this day to preclude appreciation from a "normal" audience—no matter how curious and voracious—for the alternative scene of that time, this was nonetheless an album for special tastes.

Some have, over time, regarded other titles by F.A.R. as more significant. The group, by voluntary choice, soon ended its adventure, channeling much of its resources into the MGZ project. In my view, the rats remain a strong testament to their journey and perhaps even the tombstone of the first wave of European industrial, which by 1987 had certainly given and said it all.

Unthinkable, moreover, to fully enjoy the ideas of F.A.R. without attending one of their concerts, true multimedia performances in which sound was only part of the creativity.