Fifteen years after its completion, "Chaosphere", the "lost" album by Italian industrial act T.A.C. recorded between November 1997 and February 1998 in New York as a sequel of their previous album "Apotropaismo", has finally been released by band mastermind Simon Balestrazzi on renowned label Old Europa Cafe. Simon didn't dissemble the fact it was heavily influenced by Andrej Tarkovskij's masterpieces "Solaris" and "Stalker" or it's better to say by the impressive soundscape based on a wise deployment of music, diegetic sounds, dialogues, their sonic representation of internal psychological and emotional processes and crisis of characters and the osmotic emphaty they succeed in establishing with viewers, coming from the strict collaboration between Tarkovskij and the genial composer of scores Edward Artemyev. The cover artwork itself quotes both movies: the original Soviet poster of Solaris, where psychlogist Kris Kelvin (performed by Lithuanian actor Donatas Banionis) was portrayed inside a triangle, whose vertex coincided with the centre of the central sphere, replaced by heartless and acephalous character (maybe Porcupine, Stalker's predecessor of the main character of the other plot) on T.A.C.'s artwork, and the dark waters of the subterranean tunnels the protagonists of Stalker had to cross to reach the so-called Zone or maybe the ones which appears when Dr.Kelvin shows the film about his life to fictional Hari, related to Peter Bruegel's painting "The Hunters In The Snow", after the notorious levitation scene, on the background. The deformation of the typical noise of a movie camera on the introduction of the mindblowing "Ocean Sonique", the haunting drones of laminar flow on the hypnotic initial track "Despite", the obliqueness of claustrophobic wide-open transitions of "The Sluggish Larvae Of An Antique Syntax" or "Imperceptibility", the nightmarish aspic of sonic clues on "Non Form" and "This Language Of Flesh and Blood", the sinister stroboscopic quivers on "Crystallize", the quotation of Oriental flutes of Stalker's theme on "Nodal Points" with sonic clues which recall the sequence of dream of that movie and many other elements over the album have many hooks to the abstract and somehow surreal journeys of Tarkovskij's movies, whose grip on viewer and adimensional wriggles seem to have been emphasized by T.A.C.'s exploration of Chaosphere, which resounds within a really visionary halo mostly by means of Balestrazzi's glorious rescued VCS3 synthesizer and other few devices.