Lorenzo Senni
Scacco Matto

We all know the state of the boot when we talk about deserving music. Almost everything good that has happened to Italian music in the last 40 years (!) initially sprouted from the underground, only to be thoroughly milked by a record industry that's not even stuck in a golden age, but strictly in Sanremo or dance things.

After all, in Italy, at least since the late '70s, to listen to decent music you have to lean towards the big indie labels. Everything else is médda or is stuff that started in the underground. After all, we are the country where Uochi Toki have always remained a reality confined to certain circles.

Such disparity creates situations of total disconnect between the labels, the big "industry" let's say, and the audience. Only if something is big abroad do the bigwigs behind the desk wake up. Obvious example: trap explodes in Italy FIVE YEARS after the American boom, and at least three years after all the regà with caps were blasting it. The country of SIAE. By the way, did you know that recently, to the delight of the cheerful Mogol, the new president, there are 5 more euros to pay for hard disks and phones, and it all goes to SIAE? I'll leave you to discover the hilarious reasons.

Another very amusing thing that surely happened to you too is discovering an Italian artist from abroad. Like, they're known abroad because they're good but here they never made it under the radar. For me, it was four years ago when from a Telegram group I discovered that in America they adore a certain Senni (I immediately thought it was a retro thing like Calibro, an English project). Luckily, I still didn't listen to my forebodings and started Win in the Flat World. The ternary attack remains one of the best things Italy has ever produced on an electronic level.

Let's jump to the new work. It should be noted that the project is based on a particular approach to dance music. Senni takes trance and deconstructs and reconstructs it according to his artistic vision, caricaturing some aspects (and making it undanceable). Those who know will want to debate it but I would say that in the end, it's simply IDM. Without a doubt, it's an original approach, in fact abroad those who are updated have been following him for a while. To be able to compose such music it's essential to have a certain level of melodic genius, and indeed every single track is a pleasure for the ears, from the carefree joy of The Power of Failing to the precise and original motifs of Move in Silence, a pointillism that is his stylistic hallmark unfolds in front of our eardrums with hooks and motifs that become verse, chorus, bridge, strong in their inventiveness. Typical melodies that never tire of listening, combined with a particular euphoria, triggered by icy sounds that know where to hit to raise the body bpm. A headphone praline, eh, at most for solo dancing in the bedroom (even if there are clubs around the world where this music is danced to, just not here!). Lorenzo Senni is the typical Italian artist they call to Club To Club despite being Italian. A few not so excellent portions (second to last track) prevent my max rating, but from the saccharine spasm of Think Big to the tactical-harmonic jolt of Discipline of Enthusiasm, inside this album there are only hours and hours of intelligent and pleasurable listening.

Imagine an Aphex who had seven sachets of sugar spilled into his cocaine.