One of the most interesting output on Francis M.Gri's label KrysaliSound, that was kindly offered to the avid ears of more demanding listeners see the signature of the young Italian composer Andrea Laudante. In spite of the fact he keeps on study composition and electro acoustic music when this album was released, Andrea shows certain maturity in the definition of his stylistic pathway as well as an interesting approach to composition. The influence of the aesthetic outlook by John Cage becomes manifest since the very first moments of the opening "Southern Lights", which besides some echoes of Brian Eno's "By This River" in the melodic line, the amalgamation of piano and surrounding environment sounds like a clear reference to Cage's pianism, the aesthatetic framework of his 4'33" including its intimate connection to Rauschenberg's "White Paintings" that Cage himself defined as "airports for the lights, shadows, and [dust] particles" to underlines the unusual role of art against the moment and the place where art is and as an invitation to feel the surrounding universe. Such an invitation in the sound art of John Cage - whose notorious "In A Landscape" sounds explicitly quoted in the awesome suite "In A Scapeland" - got accepted by Andrea, and such a fact sounds evident when he describes his album 'Banat banat ban jai' as a diary of a journey through sound and listening, as a form of meditation: "Listening carefully to every kind of sounds in different places and with several methods gave me a new perception of the world around and inside me. [...] There is no difference between the sound that comes from a guitar and the sound that comes from wind blowing through leaves, if we know how to listen". Cage's pianism is not the only entity you'll meet during the listening of this album, which is going to sound a search for interesting hybrids as its listening will progress. For instance "Maheshwara" (one of the names of Shiva, that becomes somehow famous for a devotional song of the mystical stage of Nina Hagen) sounds like combining bell-driven meditation sessions and some of the more extreme electroacoustic experiments by Pierre Schaeffer, the awesome "Between Us", where it seems the listener breathing cycle get mirrored by cycles of inhalations and exhalation between the concrete sound and some field recordings of a seaside environment and the emotional ones rendered by daydreaming melodic gushes, reminding the exoticism of some contemporary minimalist composers, or the intersections between swirling cacophonies, disquieted piano chords and natural and urban field recordings in "Yugen" are just some samples of the cross-breeding techniques by this composer. Deserves a check.