⚡ Album Presentation — The Throne of Broken Frequencies
Mario & Collettivo Undersound

For this album we dove into the early versions of Suno, discovering how those first models relied on simple, repetitive chord patterns.
🎛️ We rebuilt those sonorities locally, then corrupted them with lyrics and visions of a world far darker than this one.

This morning’s depression unexpectedly opened a portal:
💾 the producer dropped a rare glitch‑gem, immediately embraced by DJ_Murphy, who gleefully distorted almost the entire sound library.
The result echoes the atmosphere of Wim Wenders’ Until the End of the World:
🌍 an aphonic planet suspended between a slow, bureaucratic, obsolete present and a future so free it can’t be imagined.

Philosophical ghosts wander through the tracks:
📜 Plato’s Critias, the Atlanteans, forgotten civilizations whispering through broken circuits.
Every song is wrapped in a mystical drone —
🕯️ religious, dark, Blade Runner‑like,
📡 inspired by Philip K. Dick and the static of dying radios.

The instruments come from a world of survivors fused with future tech:
🪗 jaw harps
🎸 fretless dobro
🥣 pan‑shaped guitar hybrids
🎷 mutant saxophones
🧬 bizarre synthesizers built on ancient binaural circuits

At first we wanted to sing in a futuristic language,
🗣️ but no one would have understood it —
so we chose English, the lingua franca of broken frequencies.

Neon serpents coil around the throne.
📡 SOS beacons pulse in the fog.
🪨 Cracked ground vibrates under the weight of forgotten signals.
This is not an album.
It’s a transmission.

Good luck listening —
💀 if you manage to. LOLK

Don t tell me

🧬 La Radice del Sound — Log 0x1999

We call it the root of sound — not because it’s pure, but because it’s where it all began.
Back in 1999, before plugins had souls and synths had GUIs, we were already hacking sound.
No DAWs. No presets. Just raw bash scripts emulating synths, bending waveforms like broken mirrors.
We weren’t producers. We were terminal shamans, writing loops in ASCII, glitching silence into rhythm.

🎛️ Our path was never linear. It was a hybrid ritual — half hacker, half musician,
a communion between code and chaos, between the machine and the myth.
We didn’t compose. We summoned.

This album presents some of our earliest steps into the LOFI dimension —
not as a genre, but as a frequency field.
Among these: the original recording of “Caro Bigi”, untouched, unpolished,
just as we imagined it —
🧠 human. LOL.

No filters. No AI polish.
Just the raw signal from a time when sound was still a question,
and we were already answering it with cables, scripts, and broken speakers.

Welcome to Collettivo Undersound.
This is not nostalgia.
This is source code.

Pianoforte di Luna Crescente


## 🧬💥 SOTTO I NEON ROTTI DEI BAR DI PERIFERIA 💥🧬  
🎧 *A collection of glitchy emotions*  
👾 Mario & COLLETTIVO UNDERSOUND 👾

🛠️💿 Tonight we hit a milestone: **555 tracks** forged in sweat, bash scripts, and emotional overtuning.  
🌀 **222 songs published on Ause** under the alias *Mario Marco Farinato* — distributed guerrilla-style via **Advice Music**, **Mirko Bolzonoi**, **Emil**, and **Slade**.  
We’ve dodged every censorship attempt, every algorithmic chokehold.  
This isn’t just music — it’s a **ritual archive**, a **sonic insurgency**.

🎛️🐋 We’ve sung with whales.  
🌕🐺 We’ve howled with wolves.  
🎸🎙️ We’ve recorded charangos live at Sagarnaga Festival in Nantes.  
🧳🎶 Our guitars carry **44 years of nomadic sound** — collected, glitched, and transmuted.

💻🧠 Over the past 6 months:  
- We’ve built **222 bash scripts** to bypass software limits.  
- We’ve mastered tracks in seconds.  
- We’ve designed covers with one click.  
- We’ve hosted our entire archive on **IPFS** — decentralized, immortal, unkillable.

```bash
collettivoundersound@collettivoundersound-System-Product-Name:~$ ipfs repo stat
NumObjects: 310806
RepoSize:   81.9 GB
StorageMax: 100 GB
RepoPath:   /home/collettivoundersound/.ipfs
Version:    fs-repo@18
```

🕒 At **3:33 AM**, after backup, the music flows like a dream through our node.  
We’ve built a **Napster that can’t be shut down** — no censorship, no edits, no gatekeepers.

🧬 This album is a portal.  
A doorway.  
A glitch in the matrix.  
A love letter to the broken neon of forgotten bars and the emotional frequencies that still hum beneath.

🔗 Welcome to the future.  
🔊 Welcome to Collettivo Undersound.  
🫂 Good listening.  
💾 If you want to know more about IPFS, check out **IPFS Desktop** and join the decentralized wave.



Treno per Saronno

Dea mea B side

🎶 Mestizo Tribute to Gilbert Favre el gringo de Sagarnaga

MARIO & Collettivo Undersound

❤️ I’ve always loved Gilbert Favre.  Even if, for a long stretch of my life — the part where I chose to be heterosexual and walk beside Barbara Erskine — I had to be jealous of a ghost.Barbara was Gilbert’s wife. This year, the grandchildren are arriving: the twins and little Jona.I met them when they were smaller than my own granddaughters. Life moves in spirals, and somehow we all keep meeting again inside the same melody.

🎼 Who Gilbert Favre Really Was

🎵 Gilbert Favre (1936–1998) was a Swiss clarinetist trained at the Conservatory of Geneva.But his life changed when he traveled to South America as assistant to ethnographer Jean Christian Spahni.There, in the Bolivian altiplano, he discovered the quena, the Andean flute that would become his voice.

🏛️ In La Paz, he founded La Peña Naira, a cultural cabaret near Plaza San Francisco.It became a sanctuary for diplomats, artists, poets, and musicians searching for a new Bolivian identity.

🎶 Favre co‑founded Los Jairas, one of the most influential groups in the history of Andean music.Their fusion of traditional rhythms with modern arrangements helped launch the neo‑folklore movement, inspiring countless musicians across Bolivia, Chile, Peru, France, and Switzerland.

🌄 He collaborated with legendary artists of the Andean renaissance, shaping a sound that still echoes today in festivals, conservatories, and street corners from La Paz to Paris.

💔 Violeta Parra and the Desert

Gilbert’s life intertwined with that of Violeta Parra, one of Latin America’s greatest artists.Their love was passionate, volcanic, and ultimately tragic.After their final rupture, Violeta wrote “Gracias a la Vida”, one of the most iconic songs in world music.

🌵 The story goes that she left him stranded in the Bolivian desert —no water, no cigarettes, only the wind and the quena.

🌬️ Why Our Lives Mirror Each Other

In some strange way, our paths resemble each other.The only difference is: Gilbert was confident. I was a mess.But music — and life — were our common denominator.

🌬️ We were both sons of Pan.Children of the wind.Nomads of sound.

🌍 Moisdon‑la‑Rivière: The Last Chapter

Today, in France — precisely in Moisdon‑la‑Rivière — Gilbert Favre is still celebrated.Not as a ghost, not as a myth, but as a rebellious musician, a philosopher of the cosmos, a seeker of ancient truths.

🪈 A flutist who carried the Andes in his breath.A mestizo of spirit long before the word became fashionable.

✨ Why This Album Exists

In this strange, attentive, and synchronistic year, we decided to dedicate an entire space to Gilbert.

In this album, we’ve woven together:

    🎸 fretless bass
    🪕 saturated sitar
    🎶 pan flutes
    🥁 zydeco‑inspired percussion
    🌗 modal mestizo harmonies
    🔥 acoustic trance textures

🌌 The Meaning of “Mestizo”

The title — Mestizo — comes from the Spanish word for “mixed blood.”Once used as an insult, here it becomes a badge of honor.

Because maybe the truth is:✨ Only the vagabonds of the stars can truly be mestizos.

ho perso il controllo

geneve est ma  vie

mestizo

beyond america

je sais

🌑 ALBUM PRESENTATION — “The Land of Incense”
🔥 A cross‑continental ritual told in French, Vietnamese, and bass frequencies
🌍 A Journey That Became a Language

“The Land of Incense” isn’t just an album — it’s a threshold.
Mario doesn’t travel through Southeast Asia as a tourist; he moves like a sensor, absorbing layers of scent, neon, humidity, and memory.
This record is born where geography dissolves and becomes perception.

It’s an album that breathes like a DSLR camera at night —
grainy, intimate, close to the skin, capturing the world in fragments of light and shadow.
🎸 A Sonic Architecture Built on Minimalism

At the core of the album lies a musical philosophy inspired by that psychedelic Texas trio known for reinventing global minimalism —
not quoted, not imitated, but echoed.

The foundation is unmistakable:

    🎚️ Fretless saturated bass — serpentine, warm, hypnotic

    🎸 Minimal electric guitar — clean, liquid, shimmering

    🎧 Turntable textures — scratches like blades cutting through humid air

    🥁 Dusty drum machines — slow, ritualistic, breathing like a street at dawn

    🎼 Vietnamese instruments — đàn bầu, đàn tranh, bamboo percussion

Every sound is a doorway.
🇫🇷🇻🇳 Why French? Why Vietnamese?

Because this album isn’t about “world music.”
It’s about worlds layered on top of each other.
🇫🇷 French

The language of balconies, old radios, colonial ghosts, and neon rain.
It carries nostalgia, elegance, and a cinematic melancholy.
It represents the upper layer of the city — the rooftops, the reflections, the memories.
🇻🇳 Vietnamese

The language of markets, incense smoke, riverbanks, and motorbikes at midnight.
It vibrates like bamboo drums and street vendors calling through the heat.
It represents the ground layer — the earth, the sweat, the pulse.

Together, they form a dual‑layer narrative, like two friends walking the same night in two different tongues.
🛕 A Ritual in Motion

This album doesn’t sit still.
It walks.

It walks through:

    🏮 Narrow alleys glowing with red neon

    🛕 Old temples breathing incense

    🐦 Memories of Pompei and childhood birds

    🛵 Motorbikes slicing through humid air

    🎤 Street‑level rap whispered like a confession

    🪕 Banjo lines that feel like ancestral threads

    🔥 Mantras invented from pure instinct

It’s a diary, a rite, a night‑walk, a glitch in the matrix of the city.
⚡ The Heart of the Project

At its core lies a simple, luminous idea:

Life is a river, and we are feathers learning to follow its current.

The mantra — Mama baba, mama lehna, mamma nena —
is not tied to any culture, and precisely for that reason,
it resonates with all of them.

It’s a call to return, to wander, to rise, to breathe.
🌌 Conclusion

“The Land of Incense” is not an album you listen to.
It’s an album you enter.

A place where:

    languages become rivers

    bass becomes gravity

    neon becomes memory

    and every step becomes a sign

It proves that music can still be a location,
a ritual,
a map of the soul.


titmanakka

You're Missing

## 🇮🇹 Introduzione (Italiano)

🎛️ **Siamo SGLL666**  
Collettivo undersound di hacker, musicisti e spiriti liberi.  
Usiamo l’AI, ma non ci facciamo usare.  
Produciamo musica, la puliamo, la sigilliamo, la archiviamo.  
Abbiamo creato un sistema che elimina i metadati compromettenti, firma ogni traccia con un codice ritmico, e restituisce all’artista il controllo sul proprio suono.  
Non vendiamo l’AI. La suoniamo.  
Se sei qui, forse vibri come noi.

---

## 🇬🇧 Introduction (English)

🎛️ **We are SGLL666**  
An undersound collective of hackers, musicians, and free spirits.  
We use AI, but we don’t let it use us.  
We produce music, clean it, seal it, and archive it.  
We’ve built a system that removes compromising metadata, signs each track with a rhythmic code, and gives artists back control of their sound.  
We don’t sell AI. We play it.  
If you’re here, maybe you vibrate like we do.

Don t tell me

Undersound Label

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