The mighty guitarist Ninni Morgia (highly acclaimed in the New York underground music scene), usually devoted to experimentation and improvisation in the wide world of free-jazz and avant-garde psychedelia, turns himself for the occasion into a real industrial musician, together with his companion Silvia Kastel, a young multi-instrumentalist and vocalist with a strong attitude for the bleak and jarring sounds from the first industrial music wave, which exploded in the mid 70s all over the South of England, giving birth to "The Fugitives", the second work by the "Control Unit" music project.
Clearly distancing itself from the previous "Ninni Morgia Control Unit", which is closer to the Sicilian artist's background, "The Fugitives" sounds like a perfect "car-crash" between the two most considerable industrial music currents: the American one (Factrix above all) and the European (English preeminently) one, which surely counts Throbbing Gristle and Cabaret Voltaire among its seminal and best representatives.
Recorded more than thirty years later, the brand new Control Unit torture your ears just like a great industrial music album from 1978, with four intense episodes of pure madness sound, obscure and sensual at the same time, thanks to Morgia's devastating technique and delirious strings, and Kastel's hypnotic groans, biting screams and caustic, powerful synthetic "raids", just as Julian Cope in person wrote about her: "she squeals, cooes, howls, snarls, grunts and yelps through all manner of intriguing analogue-ishness[...]".
Backwards released this record in a limited edition of 300 copies with handmade silkscreened sleeve. First 50 copies in coloured vinyl, with special silkscreened bag, 2 badges and additional inserts.
The remaining 250 copies are in standard black wax.
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