Spellbinding electro-acoustic constructions born from stringed instruments, percussive onslaughts and emotionally charged song craft. Maselli's uncanny skill to create non-conformist drama recalls the wind swept post-rock oblivion of Set Fire to Flames at their most layered and dense, The Haxan Cloaks doom-ridden worlds of grain and texture and the edge blurring of instrument and electronics so expertly honed by Emptyset. “There’s no solitude in art, since it truly only exists in the light of the Other. Since the dawn of time there’s no cry that hasn’t been uttered, song that hasn’t been raised, blood that hasn’t been shed. If finding peace is impossible, will salvation come from the compassion of others? Lazarus cannot possibly evade or fight against death: he can only hope for rebirth, bringing along the wounds of a numbing, breathless sleep in his burdensome recovery. Somehow the Gospel narrative manages to shed light even on the deepest disillusionment and in the narrowest recesses of nihilism, digging up to the epi-center of the visual and sonic inspiration of Western culture. And just as certain painters need to ponder long on each stroke in order to render it raw and apparently spontaneous, Domiziano Maselli similarly goes through phases of desperate gestation, of maniacal chiselling, thus reaching the final –not definitive– shape of his sound expressionism, that urgency manifesting itself in the brutal jumble of darting, telluric acoustic sources, to then settle into the pitiful lyricism that was hidden under the rubble since the beginning, suffocated but still alive. The voice of one crying in the wilderness.”