Starfuckers
Infrantumi

This is non-music. Rather, it is a profound silence interrupted by whistles, noises, whispers, random drum beats.  

The Starfuckers start from nothing to build nothing; everything they reproduce with instruments, voice, and words is completely random. Manuele Giannini does not sing; he emits sounds that crash between one noise and another. The artistic expression of the group seems to somewhat draw inspiration from the thought of Francis Bacon: just as the English philosopher aimed to break down the prejudices of the human mind so that people could gain an effective knowledge of reality, so the Starfuckers break down every barrier, every limit placed on rock to create an authentic "music", which is not the result of an idea passed through the mind. In fact, Giannini speaks of «destruction of the self vs. self-representation», meaning precisely that music should not be intentional at all, but should instead «compose itself». However, if Bacon demolished to build something better, the Starfuckers demolish and that's it, creating nothing but confusion.
"Infrantumi" is an unthought-out album, unconventional by definition, so metaphysical that it seems to herald eternal nothingness. The twelve tracks that comprise it represent a convoluted jumble of random sound fragments representing who knows what. Every single track is a devastating experience. A sinister pulsating synthesizer, a guitar placing random notes, bass drum and snare hits delivered without any precise logic, cymbals of all kinds (one even hears a china, a cymbal often forgotten by drummers), strange percussions intertwine with barely whispered words, as if wanting to hide behind that apparent sonic chaos. It would be futile to attempt to analyze "Infrantumi" track by track from an (a)musical perspective.
The division into tracks is purely a pretext, in fact, one cannot discern real differences between one track and another, except perhaps on a lyrical level, mere mental associations. The lyrics do not seem at all intended to express something; their most probable function is to recreate other sounds, as if words became an additional instrument, given their richness in rhetorical figures. Indeed, the alliterations of "Onde Corte" («I tremble from too much cramping/ raw in your weaves») are very effective, the assonances of "Colei Con Cui" («started and then stopped/ stuck on»), the synesthesias of "Di Marmo" («muted noises», «dry seconds»). The duration is curious: no track exceeds five minutes, almost paradoxically wanting to respect at least one mainstream rock canon.

In short, with this album the Starfuckers literally shatter everything that comprises the structure of a song (Giannini himself stated his rejection of the concept of music as structure): harmony, melody, rhythm section, and lyrics are thus fragmented, atomized, as if they were performing some sort of modulation of silence.

Perhaps their musical quest lies precisely in this, in breaking the silence, but in the end, it is inevitable to question why.