Incastri

“INCASTRI” MEANS JOINTS. ALSO MEANS COINCIDENCE. A JOINT IS WHERE TWO OR MORE PARTS MEET TO FUNCTION TOGETHER AS ONE. EQUALLY COINCIDENCE REFERS TO A REMARKABLE ALIGNMENT OF EVENTS OR CIRCUMSTANCES THAT APPEAR TO BE CONNECTED, BUT ARE TYPICALLY RANDOM.

Two divergent sonic paths converge, bound by emotional tension and a shared commitment to raw experimentation.

Molveni crafts shifting, ephemeral soundscapes where evolving rhythms and atmospheric textures intertwine in a delicate balance. Steering away from conventional percussion structures, his music reveals a suspended, elusive sense of rhythm. With a subtle interplay of fragility and grit, Molveni navigates between ambient introspection and visceral intensity, maintaining an understated yet unrelenting emotional pull.

Nodolby, the alias of Michele Scariot, delves into the decomposed edges of sound. Using tapes, broken devices, and analog media, he sculpts a handcrafted noise aesthetic rooted in material decay and sonic unpredictability. His work bridges harsh noise and musique concrète, where distortion, feedback, and improvisation become tools of exploration—revealing hidden musicality within apparent chaos.

Together, Molveni and Nodolby offer a dual perspective on contemporary electronics: a dialogue between presence and disappearance, between fragility and abrasion, balance and collapse.

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Italian sound artists Molveni aka Leonardo Albanese and Nodolby (Michele Scariot) each account for one side of this tape. With feedback mixer (Molveni) and a broken multi-track tape recorder (Nodolby), they both employ sound devices that invite random sound events, coincidences that the artists join with other sounds in their performances. Therefore, the Italian word “Incastri”, which can mean both “joints” and “coincidence”, is a perfectly fitting title for their split release.

Molveni’s assemblage of modular synth, feedback mixer, and effects yields three tracks that have a certain drone/ambient feel to it, Nodolby’s “junktronics” (as the artist calls it) stay true to his decidedly noisy output, an ongoing exploration of the sonic possibilities inherent in obsolete technologies. The debris of the analogue world comes back to haunt the digital age, and in the clever composition of this split album, the noise on Nodolby’s side haunts the music on Molveni’s side. And vice versa, of course, because mainstream music technology (such as Dolby!) always tries to eliminate noise. The haunting never stops and the dialectic cuts both ways, just as the tape gets turned over and runs in the opposite direction again.

File under: experimental, noise