Morgan
Il suono della vanità

TAXICOLOGISM: Pizza Maniac [First Symptom]

After midnight, once upon two times... Make sure you're completely alone at home, turn off all the lights in your domicile, leave a television on mute, tune it to a late-night infomercial on Mediashopping or some channel airing an embarrassing trash program or ‘80s memorabilia like Colpo Grosso or Drive In, put this CD in the stereo in a room illuminated by a single green reading lamp. Listen to it as you wander from one dark room to another. Drink a pitcher of coffee, smoke several cigarettes. Alternatively, ensure you have a stranger passed out on the sofa, keep the same channels but with audio on in this case, leave warm living room corner lamps and cold kitchen led lights on. Lock yourself in a private study with all the comforts. Go to the fridge for supplies multiple times.
Often think about contracts and business trips. Drones.

Alex Infascelli has made films released directly to newsstands, directed many music videos including one for Urban Solid Waste (RSU), hosted brand:new on MTV, and directed the film that follows based on an original subject by a Cannibal, a Rodeo Drive Ltd production. Il Siero della Vanità (★★★) is a dark film like Almost Blue (there the soundtrack was the twilight of Massimo Volume and The Sound Of Rome by Lory D), Luther Blissett is nowhere but everywhere: day and night lights darkened, psychedelized, terrified, bleached, faded, involuntarily televised-previewing the vaporwave imagery of Big Babol and Nutella + Piña Colada with antidepressants, anxiolytics like Darkene and a whole other wide range of hypnotic drugs with imaginative names for disastrous diets. Farmacitaliani. TV stardom, audience, visibility, invasiveness, buzz, money, lots of money and promotional investments. The binary fictional/metaphorical writing idea is excellent and intuitive. The execution needs qualitative discussion. After a second viewing, develop thoughts of devaluation or reevaluation, given the will to do so. Unhealthy air vapors slowly and quickly without interruptions through the screens, unpleasantness from start to finish. There is no possibility of reasonable compassion for the characters. There is no recognition, they are all disgusting from the beginning, including Morgan. There is a frenetic wizard wandering through TV studios, Sonia Norton is a replicant.
One waits for late night programming on FUORI ORARIO.

To have a photo on the front page of La Settimana Enigmistica. Determination, ambition, image. In the beginning was the word returning in electronic form, at the end will be the pixels mediahertz in the epoch of their technical reproducibility.
Narcissus drinks his image but remains here mute in Una Storia d'Amore e di Vanità.

It is not a digestible film. It is the exhibition of alienation from overexposure, or its opposite, now no longer a merely abstract sensation but a concrete condition, equally invisible as it can only be imagined and disturbing as it can never be anticipated. The monster keeps growing in the sprawling metropolitan area without parking, gray with concrete, black shiny with rain-slicked asphalt between the scorching exhaust pipes among the cold and yellow buses, intoxicated with compulsive-depressive appearance and money, alone and individualistic in trendy restaurants.
An infantile anaclitic condition and at the same time alienated in states of dependence and enslavement swallowed by the chaos centrifuge. Sometimes society slows down instead of speeding up. Physical decay, obsession, media underestimation. Psychological Manipulation Agencies that exist and act like ghosts. Fatigue, chemical alarms, artificial aesthetics. Means of information, transmission methods, mass computation means. Hopes rain down, hopes do not rain down, hopes rain down, hopes do not rain down. *(REFLECT HERE). Blipvert Corporate, the history of advertising repeats itself.
Il Libro Italiano dei Morti is the Auditel.

TOXICOLOGIST: 23 A.M. Subterraneon [Second Symptom]

In addition to all my existential questions, I have to endure the personal problems
of the analyst whom I confess to on winter evenings. (La Sua Dimensione)
Morgan has always written and produced a lot of instrumental music for audiovisuals, for ice skating, for ballet, for the theatrical and musical update of Clockwork Orange staged a few years ago at the Bellini in Naples.
Il Suono della Vanità is the OST for the film mentioned in the second paragraph above, the same director plays something in a couple of episodes and lasts less than a dishwasher cycle. Soundtrack of renewed genre for electric piano and synthetic orchestra. Locked away in that apartment from which he seemed not wanting to emerge, he wrote very brief themes for the film, surrounded by graphic sound composition software, prepared and mechanically distorted pianos, monophonic analog synthesizers, pieces of scenic dialogues to be assembled like in old radio dramas. Morgan has always been (synth) pop, here he is found even more cerebral. Phones that don't ring, temptations of Badalamenti, a single burst of Bernard Herrmann, an evil fate subtitled in Nadsat. Freed from commercial music industry dynamics and tendencies, he wrote very dark things and Worked with the Favor of Darkness.

With the music of Bluvertigo and his rhyme-less lyrics, with two well-balanced soloists and this commissioned work, he demonstrated an artistic and aesthetic rigor lost in the stubborn and excessive baroque of rare current releases. Today, his beau geste punk-futurist at the 2020 Festival might go down in national-popular history as "The famous Ariston revenge" against Conspirator no. 02 Bugo, as suggested by BJLFP. But in 2004, it was Conspirator no. 01 Soave (who with the second represents the Sanremo Combo) who executively produced this soundtrack for Mescal. Music that attempts to translate technically untranscribable and hence unreproducible thoughts and feelings from one side to another. Il Suono della Vanità has the rare quality, for a soundtrack, of having a life of its own independent from the film. A grave sound for a heavy film about moaning humanoid mush that philosophizes on Reality in Talk Shows* which people continue to watch with TVs at high volume in their apartments to avoid feeling one with another. Morgan back then was still a semi-unknown object and was still the son-in-law of Daria Nicolodi, among whose ancestors was the composer, pianist, and conductor Alfredo Casella. And this music has the pitch black of feral family descent because it is transitory or ephemeral.
Morgan here worked with the favor of darkness on his Requiem Music.

(Curtains statues red vision certainly seems to have Laura -drive with a dead girl/wrapped in plastic- of Palmer of and the room point.) The air conditioners and fans in the external toilets of bars make a symphony; a quartet of sirens with loudspeakers: two belonging to Municipal Police cars, one to the Carabinieri car, one on the Civil Protection pick-up plus a megaphone in the priest's mouth who croaks and squeaks homilies makes a dissonant and futuristic song under the houses along the empty streets all in Todo Modo. And more sirens... Ambulance sirens psychically dart closed in a madhouse listening to classical music broadcast by Radio 3. On Rai 3 there is Blob.

Sounds for nyctophiles. Night composition workers put away their scores and pencils and go to sleep a minute before the evening's and past night's street lamps turn off, and a new electric dawn appears to inaugurate new daytime work times, and...
This was the ballad of the city at night,
of time that does not pass, of darkness that swallows,
again they will play illusion and reality,
and this will be the ballad of the night to come.
Deliberately altered chiaroscuro of Sclavi After Midnight.

[BLACK MAIL (Gemini Soundscape) Confusion is Six]