Back in 1971, when this real gem of electronic experimentation was released, the term “cybernetic” was used to refer to the future. Or, at least, to an obscure science in the hands of a few experts, conducting experiments in rooms flled with huge electronic calculators. . Automated controls, auto-regulation, information theory… those were abstract, uncommon and rarely used concepts which would change the world in a few years – and, in our case, deeply infuenced an album which, almost half a century later, remains a mystery. The greek origin of the word used as a title (kybernetes, which indicates the pilot of a ship) is not very helpful and we still don’t know who is hiding under the Peymont alias. For many years it was commonly believed that Peymont was Piero Umiliani in disguise, but some of the most respected theories explain that the nickname was used to hide the identity of Luigi Malatesta – composer of flm scores, music libraries and, oddly enough, the hymn of the italian political party Democrazia Cristiana – or the world famous Egisto Macchi (a more fascinating and plausible thesis). The 13 tracks featured on Cibernetica, indeed, bring to the mind the most abstract and experimental compositions of Macchi; but if we fell into the pitfall of living this listening experience as it was a treasure hunt, we’d make a huge mistake.