The sound we find inside The Disorder of Appearances is the result of three months’ worth of work, made during winter of 2020, when Ginevra went through the writing process by which she could explore new software manipulated voiceprints.
The result is a listening where we don’t find a comfortable hold through the sound path, a path that’s not easy to categorise or even to compare immediately to other products in the contemporary electronic genre, making it a personal and one-of-a-kind piece of work.
An album that, beyond the dark industrial plot put in place, hides a Mediterranean soul that is expressed in a sense of profound misery, with ambient-techno nuances that sometimes are anxiety-inducing, some others are soaked in a desperate melancholy. Listening the album, we often come across episodes that open towards scenarios where there is no trace of human presence; rhythmic pulsations nail us to the plot, but suddenly whispers and indistinct babblings, like debris of broken dreams, recall our species and its most persistently reflective habits.
“Entrance One” bursts like a crackle that cuts through oceans of apathetic silence; “Variable objects” vibrates in the glow of a dawn that seems to hold a threat. “Seven” is minimalism with industrial hues; “Eleven” seems (but is certainly not) a tribute to the intense main character of a very current US TV show, showing Ginevra’s natural predisposition to soundtracks.
“Zero (featuring Iosonouncane)” is the immersion in a sound field that has an ethno-folk flavour and a bit of techno dystopia, it has sounds that confuse perceptions, and in fact The Disorder of Appearances is the title that seals a complex work full of very interesting ideas.