** LP + Artist’s Signed Drawing "Aura". Edition of 120 copies ** Fabu and Teche imagines two presences that are not really presences at all. Rather than characters or even stable names, Fabu and Teche function as surfaces - impersonal planes where signs and forces register and mutate. They behave like screens that never stop working: language, writing, technique, the traces of production all hit them, bounce, refract, blur. Sometimes they respond with opacity, sometimes with a strange permeability, but in every case they send things back altered. What returns from these rebounds are hybrid forms, neither this nor that and yet stubbornly both, anomalous configurations partly detached from their original systems and uses. Fabu and Teche themselves retain almost nothing, only the minimal residue needed not to dissolve into pure undifferentiated noise.

In this project, their mutual orientation matters. They are most often found facing one another, inseparable yet rarely coincident, touching or adhering without collapsing into a single surface. They do not oppose each other, do not take sides the way the signs they host often do; the materials that cross them - words, technical procedures, symbolic structures - seem born to sustain conflict and tension, to embody irreconcilable positions, yet somehow still leave room for generation and invention. Fabu and Teche, by contrast, are neutral only up to a point. Their “indifference” hides a quiet partiality: they have a weakness for certain sources, certain kinds of forms, while others pass through them almost without a mark. In that sense they also select, not programmatically but by inclination, exercising a kind of involuntary curation that shapes what can be seen and heard.

Part surfaces, part ghosts, they function as semi‑permeable membranes where elements from other regimes occasionally get snagged. They move easily through time, skipping without interruption from one place to another, intercepting whatever occurs in each territory and each era. Fabu and Teche situates them inside a larger framework, Camera mista, which articulates their effects through a series of differentiated filters, filigrees and sieves. Sub‑projects like Aura, Bagatelle, Continuum, Matinée, Note and Pieghe are each charged with picking up what remains of language and technique after it has rebounded off Fabu and Teche, and then setting those remnants into resonance. Each filter amplifies and transforms according to its own properties, pulling different frequencies from the same raw material: a fragment of phrase here, a procedural glitch there, a faint contour of gesture or noise.

Conceived by Lisa Baume, Martina Gre and Francesco Trabattoni, with texts by Baume and Alima Zada, Fabu and Teche unfolds as a mixed‑media field where sound, image and writing continually trade places as foreground and background. Paintings and photographs by Baume and Trabattoni mirror the project’s concern with surfaces that are never just surfaces, while Trabattoni’s recordings catch the small impacts and after‑images of those rebounds in audio form. Mixing by Fabio Intraina and Trabattoni and mastering work by Intraina give the material a deliberately unstable clarity: details emerge, fade, recur in altered guise, as if the record itself were one more membrane between Fabu, Teche and the listener. Rather than explaining who or what they “really” are, the album inhabits their logic: a space where signs loop and scatter, and where meaning arises, briefly, from the way things strike, stick, and slip away again.