"Tipografia Sonora" is an album shaped by the land, much like Mario Giacomelli’s photographs were shaped by the Marche region. It is both a tribute and an act of reinvention - a fusion of nu-jazz, electronic experimentation, and acoustic improvisation that translates Giacomelli’s stark black-and-white visions into sound. The trio - Michele Duscio (electronics), Leonardo Francesconi (piano), and Francesco Savoretti (percussion) - approaches this task not with reverence alone, but with curiosity, using unpredictable algorithms, generative sequences, and freeform playing to create music that mirrors the raw, poetic contrasts of Giacomelli’s work.

The album unfolds in layers, much like a photographic print developing over time. The ambient-electronic textures and jazz-inflected piano lines might recall the elegant minimalism of Chilly Gonzales or the cinematic scope of Floating Points. Yet, there’s also an underlying sense of improvisational freedom akin to the rhythmic unpredictability of Plaid or the percussive explorations of Lambert. At its core, "Tipografia Sonora" is deeply rooted in place - not just in its themes, but in its sonic approach, which captures the Marche’s landscape, history, and shifting light through the interplay of organic and synthetic sounds.

Each piece reflects a different photographic gesture. "Rami spogli" opens with the stark bareness of winter, synths moving like wind through skeletal trees. "Interiorità" is introspective, turning field recordings and percussion into something spectral, mirroring the way Giacomelli transformed reality into abstraction. "Testa tra le nuvole" drifts upward, an impressionistic daydream over rolling hills, while "Grano" crackles with restless energy, its layered harmonies bending like golden fields in an unseen current.

As the album progresses, rhythm and texture become more pronounced. "Solchi e cicale" hums with nocturnal life, capturing the hidden frequencies of rural silence, while "Spazio, tempo, luce" pulses with an insistent drive, embodying the very elements Giacomelli manipulated so masterfully in his photography. The percussive interplay in "Ombre e clangori" evokes the unseen forces behind his images - the silent energy exchanged between artist and subject, light and shadow.

The final pieces, "Contrasto" and "Viale alberato", distill the essence of the project. The first plays with opposition - piano repetition against percussive chaos - echoing the high-contrast aesthetic of Giacomelli’s prints. The latter closes on an organic note, where wood and resonance recall the Marche’s trees standing as silent witnesses to time’s passing.

Like Giacomelli’s work, "Tipografia Sonora" thrives in ambiguity - between improvisation and structure, old and new, sound and silence. It’s an album that doesn’t merely accompany the photographer’s images but reinterprets them, finding new ways to frame the Marche, not as a static landscape, but as a living, evolving sonic space.