Mondoriviera is the moniker of Ravenna-based musician and visual artist Lorenzo Camera. Producing music at the crossroad between late-night z-series horror movie soundtracks, 2d modular synthesis digital soundscapes and new-school plunderphonics, after his debut “Il Tempio degli Uomini Granchio” on New Weird Italian label Riforma, and the folk-vaporwave soundtrack for videogame Nott Longa on Artetetra, Mondoriviera is back with 10 new tracks jumping from the golden era of glossy horror VHS to new millennium goblin muzak and sonic delusions.
At the threshold between early 2000s music videos nostalgia, childhood memories and digital drifts, the second album by Lorenzo Camera, aka mondoriviera, explores the sentimental impacts of contemporary archetypes in our imagery with the help of post-vaporwave sounds. [The life of] “Frenton Cantolay", a parody of 'Frampton Comes Alive', the 1976 pop record, is a sonic journey into a contemporary Olympus inhabited by spiritually-corrupted zombies. In this parallel world, zombie celebrities, only apparently outside the afflictions of life, live at the mercy of Fortune, praying to the graces of the Goddess who exists above all world's logic. Yet every success reveals the arbitrariness of their path; Fortune brutally elevates people to heaven only to eat their heads alive, while the mass keeps working, alienated, just to sustain their futile concatenation of needs. A timeless hero, the zombie Frenton Cantolay attempts to rise from mere worker to superstar, chasing unattainable dreams without accepting that we are not the same in this Olympus.
Echoing pastiches of pastiches of theories and pieces of lost media, mondoriviera's album reflects on the afterlife of 2000s musical archetypes and at the same time tries to open up alternative futures. A glitching pornography of our mediatic times, the zombie is a character that questions our deepest desires and social constructs. Is there an alternative? The scratchy, phantasmagoric sounds of Mondoriviera create a sense of alienation and possibility. After the psychedelia and Creepshow's imagery already present in Lorenzo's debut record 'Il Tempio degli Uomini Granchio', this album represents a further hallucination, a soundscape for an unrealised deranged metaphysical videoclip, a crooked ballad for a love yet to come.
