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Alessio Natalizia of Walls spools out the 3rd and final Not Waving cassette, loaded with 8 tracks, 30 minutes of wistful tape loops and burbling machine noise with an eerie, proto-technoid edge. ‘Voices III’ yields a shady spectrum of hushed, pulsing electronic dialect neatly complementing the diversity of the first two volumes. Each cut says its piece succinctly, from the scrambled radiophonic transmission of ‘Excesses’ to the settling synth sediments of ‘Voices’ via the slow-blooming arpeggios of ‘Witzelsucht’ and the waltzing drum machine figures of ‘Body-Image’ or its radiant inversion ‘Disembodied’. The beauty of this series partly lies in the fact the music could have been created at any point over the last 30 years; it’s timelessly intangible and spectral, a place out of space-and-time, futuristic yet instinctively primitive.

Self-released 2nd volume out of three. Edition of 100. Currently hitting a golden streak of releases, Alessio Natalizia of Walls ushers out a 2nd volume of synaesthetically-attuned, motorik electronica as Not Waving. As with Volume I, he again weaves inspiration from Oliver Sacks, Ivan Pavlov, B.F. Skinner and “the enduring relation between perception, memory, attention and comprehension” into minimal, stealthily emotive abstractions nodding as much to early Radiophonic pioneers as Italian Library records and early minimal wave explorers. What sets him apart from reams of others operating int his quadrant is a well timed sense of discipline and momentum, never outstaying his welcome and constantly keeping our attention with subtle variations, quicksilver turns of phrase and crude but effortlessly effective melodic progressions helmed by tape-lagged grooves. RIYL ambient AFX, Ekoplekz, BBC Radiophonic Workshop

Jelly green C30 cassette with hand-numbered 12-panel J-card. edition of 100 – comes with an instant free download of the album** Alessio Natalizia ov Walls meditates on the fidelity of memory and synaesthetic perception with his third release as Not Waving. Taking inspiration from neurologist Oliver Sacks, the philosophy and thinking of B.F. Skinner, and the research of Russian physiologist Ivan Pavlov (not CoH), ‘Voices I’ spans seven hazily hypnagogic pieces of chattering drum machine pulses and groggy synths threaded and embedded with tape-manipulated field recordings challenging the listeners sense of space and place with intra-dimensional, extra-textural ambiguity. It makes a virtue of the uncanny spaces between his various hardware “voices” and the way we sense and feel their shapes, timbres and textures in a 2D environment. Or to put it another way, it’s trippy sh*t for fans of vintage Italian industrial experiments and the likes of Thought Broadcast.

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