🔥 Album Manifesto – Who Created the Devil?
🌀 Ritual of Release

This album was born as a gift, dropped ahead of the producer’s birthday. No market rules, no waiting for approval chains — just the freedom to sit down on that day and hear the music breathe. Every track is both a song and a coded ritual, translating scores into prompts, rhythms into syntax, and lived memory into sound.
🧩 The Mantra Protocol

At the heart of the record lies a shared denominator: words looped like mantras, repeated across songs to open portals.

    “I tied up time, three times, six times, nine again, then I started over… dis be my freedom.”

    “I tied up de wind jus’ to feel ya breath, three times in de black moon, seven in de full moon.”

These phrases recur across multiple tracks, executed like recursive functions. Repetition becomes invocation, numbers become gateways, and freedom emerges from the loop.
🎶 Track‑by‑Track Rituals

     Always find my way to Rome ⏳ Wandering blues mantra, 3‑6‑9 loop as survival code. Gravel, dust, Tacoma frost — every verse a debug trace of exile.

Three times, six times, nine again  🌬️ Wind, sun, and time bound in mantra syntax. Hoodoo chorus repeats across songs, each invocation a function call.

I rise, I fall, I circle back 🔥 College Station exile, oysters and church bells. Freedom vs chain recursion — the loop itself asks the question.

Sista Christina rolled in RedBay 🐴 Playful chaos: saints, donkey rides, pacifiers turned devil devices. Mischief as root access, hoodoo blues as child’s daemon code.

  Bible Belt blues, holy tongues and sighs🐈 Rooftop flight vs church hysteria. Proofs rejected, freedom found in rooftop recursion. Irony protocol: prayer vs flight.

Who made the devil, and why he came for me 👹 Origin myth: horn on the forehead, shadow daemon at birth. Recursive chorus asks identity — unicorn or cursed child? Blues as vibe coding, survival as syntax.

🛠️ Beyond Control – Ritual Mastering

Collettivo Undersound doesn’t stop at composition. The mastering itself is a ritual act, executed through Bash scripting. Each .wav file is processed, sealed, and renamed with sigils, using SoX to sculpt bass, treble, compression, and gain.

This isn’t just technical polish — it’s perfection beyond control. Each track is ritualized, sealed, and stamped with its own sigil. Mastering becomes part of the myth: automation as invocation, Bash as hoodoo syntax, sound as code.
🌑 The Sonic Architecture

Every instrument is a variable in the ritual code:

    Lap Dobro slides and taps = invocation operators.

    Two guitars = call‑response threads.

    Bass = deep driver.

    Stomp box = double‑time clock pulse.

    Harmonica = error wail at emotional peaks.

    Drum machine = subtle texture daemon.

    Cello = harmonic shadow accent.

Together they compile into smoky back‑porch delta blues, hoodoo dreamscapes, surreal atmospheres between firelight and church echoes.
🕯️ Concept Kernel

This album is not about lids and pots, nor about devils in kitchens. It is about portals, frequencies, and the courage to bend rules. It is about turning lived history — Boscoreale, Pompeii, missionaries, exorcisms, moon landings — into coded sound. It is about proving that writing a score and writing code for AI are two faces of the same act of creation.




Who made the devil, and why he came for 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.



Hollow Crayons

Treno per Saronno

Transfigured Shadows

Dea mea B side

Siberian Blues

Haitian Vodou

Slow Blues in Shanghai

No Use For Money

Dea mea A side

## 🇮🇹 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.

Who made the devil, and why he came for me

Undersound Label