Utilizing his experience on the UK underground noise scene, and tapping into a beautifully sick love for all things Giallo, … is gripped in quiet violence and sensual chaos, transporting listeners to a darkly glamourous place that has
only ever truly existed inside the fertile minds of madmen like John Carpenter, Mario Bava and disciples like Maiovvi himself. Consequently "Tessa" is a pulsating and warped update on the San Francisco sound of yesteryear,
reimagining the famed Castro stretch as a safe haven for seductive supernatural activity where lust could easily transform into bloodlust once the clock passed the stroke of midnight, and the fate that potentially awaited the leather
capped jackboot boys at the end of the darkened alleyways behind dancefloor mecha, The City, was a sacrificial altar pieced together with broken shards of mirrorball and the final sight of Sylvester standing above them poised with
a jade dagger, vibrating to the sound of Patrick Cowley's ritualistic Prophet V beat emanating from behind a purple veil in the corner. Meanwhile "Ghostray" conjures up the tantalizing image of Bernard Edwards and Niles Rodgers
collaborating with Goblin to jam out a soundtrack for one of Argento's many "yellow" masterpieces, filtering an almost balearic bass line into the analogue dread, while absorbing "Flesh for Frank Booth" makes it possible to
imagine Dorothy Vallen leaving her demons behind in Lumberton, North Carolina to begin a new life as a performer of Moroder classics in the luxurious nightclubs of 1980s Biarritz, still haunted nonetheless by the face of her
"daddy/baby." To simplify…essential witching hour boogie.