**Edition of 200** Vittore Baroni and Daniele Ciullini met in the early 1980s in the then flourishing circuit of fanzines and mail art, starting a series of collaborations in small self-produced artistic publications and in the sound field, as in the case of “The Cop Killers”, a tape part of the TRAX multimedia project. In 2018, at the time of the vinyl reissue of this audio cassette, the idea of giving a sequel to the dystopian-science fiction "industrial opera" was born, but without anything coming to fruition. In the meantime, Vittore remained active alongside Manitù Rossi in the many productions of Le Forbici di Manitù, which over the years have involved dozens of international musicians as guests, but strangely never until now his friend Ciullini. To fill the gap, at Manitù's suggestion, Le Forbici asked Daniele for various instrumental tracks on which to perform their interventions, essentially of a vocal nature. The collaborative process turned out to be much simpler and more immediate than one could have hoped, leading to the completion of an entire album in a short time.

“Shadow Cones” collects traces of the dark zones in which the stories and memories of the three authors intersect and overlap, taking the city of Florence as a common thread and leitmotif - Ciullini's operational base and an equidistant meeting point between Viareggio and Reggio Emilia - with all its variety of historical, cultural, architectural and landscape suggestions. From the tragic figure of Girolamo Savonarola sacrificed in the public square to the world of high fashion that has one of its privileged hubs in the Tuscan capital, from esteemed pioneers of electronic research such as Pietro Grossi and Albert Mayr who put down roots in Florence to the glories of the new wave scene of the early 80s that elected the city among the capitals of new Italian rock, from the artistic-literary circle that revolved around the magazine Lacerba at the time of early Futurism to the great poets and men of letters from across the Channel buried in the peculiar English Cemetery, the album sends back lights and above all shadows of a city that has never lacked in mysterious and arcane places or in political conspiracies and dramatic events. An (im)possible marriage between song, cut-up and vocal experimentation, ambient-drone and industrial sounds, gothic fascinations and very Tuscan black humor. A very transversal tribute to a city that, as local songwriter Odoardo Spadaro sang, “It's so old and yet it never gets old”.