Why-Fi

In 2014, that is one year after the release of ‘Universal Laws‘, I moved back to Italy, and for various reasons I no longer had the opportunity to devote myself to my musical hobby on an ongoing basis.

Having said that, every now and then I managed and still manage to record something, just for fun; that’s why in 2022 I decided to put together seven of these new recordings, chosen from among those that sounded good listened to in sequence, and release this album.

At the moment Why-Fi is not available on CD but only on the usual streaming platforms (Spotify, Amazon Music, Apple Music etc.).

As soon as I have some time, I plan to try my hand at creating a video for one of the tracks.

The idea for this track came to me at a time when I was playing ‘Fireflies‘, by Owl City, several times every single day.

Maybe I’m the only one to find a connection here, but it seems to me that something of that song ended up in here, at least in terms of atmosphere.

This is also the only track in which my mother participates, as female backing vocalist.

Here we have lyrics targeting a certain category of people, a bit like I did in ‘New Culture Theory’. Whereas in that case I had targeted those who write in a super elaborate way to mask the paucity of their content, in this case I am critical of those who really don’t give a damn about content, as long as they can shake their … body.
Mind you, I have nothing against easy or danceable music, (I also use and produce it), but I think it should be normal to feel the need to listen to something a bit more challenging and stimulating, lyrically or musically, at least occasionally.

Initially the track was supposed to be about one minute longer, but the provocation of  “Do you want some more? And stop!” appealed to me so much that I decided to cut it short in order to have an abrupt ending.

The title is a tribute to the software I used to compose this track. Besides ‘Omega Revolution’, this is in fact the only song I have created entirely with Reason, by Propellerhead (now Reason Studios).

Funny enough, I have absolutely no recollection of this song, except that one day, rummaging through the hard disk where I keep musical ideas and complete songs, I found it, ready to be used. Were it not for the fact that it is clearly my voice singing and that the style is 100% Sir Joe, I might even doubt that it is mine 🙂

This is the only track from ‘Why-Fi’ that I composed before 2014 (2008, in fact), so much so that it was originally supposed to be part of ‘The Observer‘, but was eventually replaced by ‘Sahara’.

It all started when I decided to test the new sampler included in Ableton Live. Not wanting to use sounds that were already there, but rather recordings made on the spot, I switched on the microphone and started recording the dialogues between some of my unsuspecting in-laws. Then I selected the recordings with the least noise (I had no idea what they were saying either, because I understand Polish rather poorly), and started playing with the sampler.

Then, a very Kraftwerk-like melody reached my brain from who knows where, and from there the song started to take shape.

Yet another stumental piece born somewhat by chance, putting together melodies that were rattling around in my head and old recordings of an American speaker.

After having interviewed him years earlier for a Brazilian music magazine I was collaborating with, in 2010 I finally had the pleasure of meeting Balasz Frank, a.k.a. V.E.N. (Virtual Explorer of Noise), in Budapest. He was in the company of Simon, leader of dark/electro/terror EBM band Servo.Hatred, who had debuted in 2006 supporting Combichrist at their Budapest gig.
The two had collaborated on a track called ‘Nothing Remains’, and some time later Balasz was kind enough to send me the stems, so I could make a remix of it. I removed some sounds, added others and re-arranged some parts, and the end result is the closing track of ‘Why-Fi’.