Fourth album of this formerly bicephalous project (it was founded in 2008 by Gianclaudio Hashem ‘Kaeba’ Moniri and Giuseppe ‘Agan’ Carlini) on Kvitnu and the second one after one of the two heads fell down (Giuseppe left the project for a personal break in 2014 just before Plaster’s release of ‘Mainstream’ in 2015), ‘Transition’ features a remarkably rougher sound than the above-mentioned predecessor, as Gianclaudio preferred that kind of approach that is closer to one of many electronic performers, who really improvise on live stage. In the author’s own words, ‘Transition’ “comes from a different perspective of Plaster’s past works in terms of emotions and sounds. My aim was to reduce the amount of complexity in order to maintain the tracks simple but effective. I wanted to be close to the people in daily life. Most of the tracks are pure improvisations using analog synths and hardware, there’s no additional editing or post-production adopting the way of thinking ‘Less Is More’.” All tracks don’t feature programmed beats or drums, but they are mostly based on masterfully distorted synth-line and overlapping distorted tones, but Gianclaudio manages to turn these swirling sonorities into something that often pierce listener’s soul and ears than many percussive tracks. Many tracks (such as the splashy light distortions of “Unregistered Product”, the smothered saturations of ‘The Last Goodbye’ or the slowly spooky synth-stabs of ‘Caress From The Unknown’) could resemble the ones that some known old foxes of Rome techno scene (D’Arcangelo brothers or Lorenzo D’Angelo, better known as Lory D) tried to explore by seducing the glorious Rephlex as well as many listeners, but they aren’t isolated experiments, but are cohesive parts of a sort of narrative sonic flow, whose “skinniest” moments (“The Climbers”, “Disconnected Heart” or the final “Children On The Cliff”) are paradoxically the more significant moments…
