Hovercraft
Experiment Below

Imagine a sort of compressed cerebral hyperspace on the brink of collapse where musical improvisation exists by virtue of telepathy, in which ideal electric circuits that convey the most diverse emotions are the stage of an overload, almost a regurgitation, of expanded rhythmic textures and weakly minimalistic and nervously outlined guitar riffs. Imagine that the future of music has as its starting point the mere introspective observation.

Hovercraft – Campbell2000, Sadie7 (yes! Mrs. Eddie Vedder) and Dash 11 - are simply the language or rather the perfect means of communication of a differentiated and philosophically architected microcosm that unfolds through a state of constant emotional and physical tension between the three members of the group, hyper-focusing on a specific, I would say almost scientific, combination of tones, frequencies, and pitches.

Imagine then a sort of gravitational field in which you unwittingly navigate describing a bizarre orbit, resolved into other infinite trajectory solutions, drawing around you anxiety and rigidly claustrophobic nihilism, which implodes edgily and releases frenzied fragments of your meninges, which in turn become twisted protagonists of equally annihilating gravitational fields. And you can do nothing but float restlessly and lost without escape in the emotional space thus conceived, subtle yet so robust, dense and concretely heavy and yet so ethereal and impalpable.

A sharp sonic turmoil with no solution of continuity and that is supported by a derailing abstraction aimed at creating an almost disturbing constant focal point at times, different aurovisual connection bridges, whose only prerogative is to alter the critical cognitive areas of the listener/observer’s perception faced with this microcosm, progressively pushing them towards a state close to suggestion and hypnosis, but without the aforementioned therapeutic intents (see my previous review on “Akathisia”)

In short, an even better work than the previous one, that refines the notable communicative channels expressed in “Akathisia” and gives it a clear dimension and meaning, which in a few words we could, even if reductively and selfishly summarize as neuronal, suggestive and vortex-like alienating - until your unexpected loss of identity -.

The feeling at the end of each listen is like waking from a piercing nightmare, with your heart in your throat, the air around you tasting of lead, and the dark, which although not exactly your friend, has much more light than you saw until a moment ago.

See Ya!