The electronic music of Morning Seance combines constant variation and reiterated complex patterns without beginning or ending. But what is intended for variation is not a change applied to a given audio object, rather a main compositional principle that eludes mechanical combinations and evident pulsations. The result is a rich agglomerate of textures and harmonies that mutates permanently and takes the listener on an atmospheric trip to different sonic environments.
On this debut LP, Morning Seance traces a drifting narrative composed of unstable harmonies, fluid structures, and ghostlike forms. The album unfolds like a dream told in fragments, oscillating between fluctuating pulses and decaying transmissions, from nocturnal stillness to acoustic mirages. The first half of the record moves through zones of suspended tension and evanescent contours, where tracks like “Be faster than your own depression” and “The tenderness of our own autobiography” sketch fragile architectures of affect. The second half enters a more spectral terrain — “Breakfast in a night club,” “A visit to the Brion-Vega tomb” — not places, but agglomerates of sonic sensation, detached from any personal frame. With each piece, the music dissolves and reconstitutes itself, resisting finality or form, and doing so with an indestructible joy that hums beneath the wreckage. This is degenerate ambient music: anti-geometric and subject to emotional weather — not a refuge, but a slow collapse of structure and purity, where atmosphere gives way to excess and disobedience. The album is crafted entirely from a single source: the Roland Alpha Juno-1. Despite this constraint, it achieves a vast sound spectrum, transforming one synthesizer’s voice into a layered landscape of textures and moods.
3 FACTS
1: The name Morning Seance comes from how I see music-making — summoning sounds into being — and from something that happened to me one morning.
2: Very recently I started a side project under the name of my late grandfather, Luigi Fornaciari. He used to tell me I shouldn’t make music because it wouldn’t bring me anything. I’m trying to make a composer of him — merged with me — from an improbable past, since he never made music himself. Musically, it’s my personal take on musique concrète, made from recordings and everyday noises, shaped through electronics but with a light, almost pop sensibility.
3: A seance isn’t just a session — it’s a meeting to reach out to what’s usually invisible.
Questions and Answers
1. What is the biggest inspiration for your music?
My biggest inspiration is my obsessions. They stay with me for years, quietly shaping the visions behind my music — not stories or feelings, but inner images I try to translate into sound. I’ve learned to live with them, to trust them, and to accept wherever they take me, even when it feels strange or uncertain.
2. How and when did you get into making music?
I guess I got into making music when I realized its power to bring me elsewhere, and very late — because in my life everything tends to delay and postpone, which isn’t a problem at all; that delay is part of who I am. My life feels like a recording — already played, already past, while it still sounds in the air.
3. What are 5 of your favourite albums of all time? (yes we know it is difficult).
Donato Dozzy – Plays bee mask
Oval – Systemisch
The entire discography of both The Advisory Circle and Pye Corner Audio — because to me, in a special way, it feels like a single work.
Gary Wilson – You think you really know me
Michel Chion – Requiem
4. What do you associate with Berlin?
Cold War, survival, vice, darkness, techno, joy, drugs, electronic music.
5. What’s your favourite place in your town?
The Wurstelprater — one of the oldest amusement parks in Europe.
6. If there was no music in the world, what would you do instead?
I’d be a hypnotist — but with a strictly selected clientele, only for creative purposes: to explore people’s minds and help them with that.
7. What was the last record/music you bought or listen?
I’ll tell you the last recent album I found truly beautiful — The Incident by Rashad Becker.
8. Who would you most like to collaborate with?
With Donato Dozzy and The Advisory Circle — but separately, I mean.
9. What was your best gig (as performer or spectator)?
I like to remember a concert by Einstürzende Neubauten — the Silence Is Sexy tour. It wasn’t just a great concert: I was alone in the crowd, had a panic attack, and then, as soon as they started playing, everything shifted. I felt great and wanted it to last forever.
10. How important is technology to your creative process?
It’s hard for me to imagine making music without synthesizers — they’re the instruments that make the most sense to me. If they didn’t exist, I’d probably make music with my voice only.
11. Please tell us more about the development of your new album?
Every sound you hear on Eternal life makes your past grow too big comes from a Roland Alpha Juno-1 — nothing else. The material took shape quite intuitively. From the beginning, the Juno gave me a strong emotional impression — that strange mix of melancholy and synthetic optimism that somehow defines its voice. I followed that feeling rather than any structure or plan. It was more about building an atmosphere and eventually distorting it — letting that emotional tone guide me until the music started to sound like a place, suspended somewhere between memory and imagination.
I’ve always loved the idea of squeezing a machine until it reveals something unexpected, something beyond its intended use. So when I discovered the label One Instrument, it immediately felt like a natural home for the project — and fortunately, Aimée Portioli (Grand River) later decided to release it there.
