Crystalline music miniatures composed using numerological games and abstract metronomes. “The basis for Cavaliere’s music is derived from the prowess of his imagination, which at a young age was stimulated by a gift, given to him by his grandma. “At a very young age, my grandmother, who was a music teacher, gave to me a cassette record player. And as I was an only-child, I would sit in my room alone, and have conversations with the record player and my pre recorded voice. I communicated with it.” (Spencer Clark) --- Recorded between Berlin and Bruxelles March - April - May 2020 --- Self Released, 2020

Super limited tape. A narrative-musical work, a Babylonian library in which sound and word give shape to an evanescent sonic space with infinite historical, archaeological, science fiction and future references. Etrusca 3D is a new band that merges two current Audio and visual artists from the 21st Century, Francesco Cavaliere and Spencer Clark. The album is the first to be released by Spencer Clark's label Pacific City Discs, as a subsidiary and in collaboration with Discrepant. Etrusca 3D is the juxtaposition of two imagineers friendship, as Francesco says, 'because I am Etruscan and you (Spencer) are 3D." There is a piece of the future of Etruscan civilization contained within this disc. It is with Spencer's remote viewing of a past and future creative culture and Francesco's birthright that we find a true insinuation of civilizations world body. --- Pacific City, 2021

Both responsible for some of the most beguiling releases in recent memory, Tomoko Sauvage brings her porcelain bowls, water sounds and array of hydrophones to Francesco Cavaliere’s dreamlike staging in ‘Viridescens’ for an utterly spellbinding suite that transcends the sum of its parts.  Both artists draw each other out of themselves and on to a shared plane of surreality, with Cavaliere opting to omit his usual vocals but still infuse his playfully oneiric spirit, while Sauvage’s elemental sounds feel unusually magnified and part of a far plusher ecology of environmental recording. The duo point to influences ranging from Henning Christiansen’s Green Music on a conceptual level, and a lineage of environmental music from Walter Tilgner to Knud Viktor and the likes of Kankyo-Ongaku and Hiroshi Yoshimura, and we can also hear analogs everywhere from Dolphins Into The Future’s field recording sojourns to Ora Clementi’s ambient inceptions or the liminal zones of Elodie. Anyone previously snagged by either of their solo works will surely recognise the emergence of structures new to either of their oeuvres developing from the stroked bells of ‘a man with a green hat’ to the spikier, overgrown variegation of ‘Rainforest Synthesis’, with ‘≒ AO (blue light is green)’ finding tantalising new interstices of quietude that make the the album’s 9 minute standout ‘Twin Emerald Dolphins’ appear intoxicatingly lush in relief. --- Marrionette, 2021