Tip! ** Edition of 55, glass-mastered CD in handmade cover featuring a unique collage made by the artist, also includes a numbered insert and a poster - all copies are different. ** After years of activity under the pseudonym Petroglifi Solubili, Italian sound artist Loris Zecchin releases his first album under his own name - a natural evolution that coincides with some of his most accomplished and fully realised work to date. Constructed using his characteristic toolkit - contact microphones, an array of fuzz effects, digital delays, samples, and various forms of signal manipulation - Il moto delle onde unfolds across four extended pieces that together map a wide and varied emotional and textural terrain. What unites them is not a single aesthetic position but rather a restless, exploratory intelligence that refuses to settle into any one mode for too long.

The album opens with Illusiogeni, a piece rooted in electroacoustic abstraction, where the boundary between acoustic and electronic sound is deliberately blurred. Field recordings, amplified surfaces and processed resonances dissolve into one another, creating an unstable, hallucinatory environment that immediately signals the album's refusal of easy categorisation. Oggetti di scena shifts the mood dramatically, building layered, irregular textures and hypnotic loops into a dense, lysergic assault that draws inevitable comparisons with the work of Merzbow - not in the sense of imitation, but in the shared understanding that noise, properly deployed, can be a vehicle for transcendence as much as for destruction. The track builds with a relentless internal logic, each element feeding back into the next until the whole structure vibrates with a barely contained energy.

Passaggio a livello offers a moment of relative stillness - though "stillness" is perhaps too comfortable a word for what Zecchin is doing here. The piece operates through repetition, its looping structures and restrained noise elements creating a kind of meditative intensity that recalls the more introspective work of Bill Nace, whose solo recordings occupy a similarly liminal space between drone, abstraction and quiet devastation. The album closes with Una bellezza frugale, the most atmospheric and perhaps most affecting piece in the set. Stereo fuzz effects sway and billow like a stormy sea, a pitch-black rain of sound that gathers everything that has come before and dissolves it back into darkness. It is a conclusion that feels both inevitable and deeply satisfying.

Issued in a strictly limited edition of 55 copies, Il moto delle onde is as much an object as it is a recording. Each copy comes housed in a unique handmade cover featuring an original collage created by Zecchin himself, accompanied by a numbered insert and a poster. No two copies are identical. Mastered by Joshua Stevenson.