“Synthi Time” is perhaps one of the most suitable albums – within Umiliani’s incredibly vast discography
– to fully appreciate the composing and experimental genius of the Maestro. For once
away from the classic soundtracks that made him popular, this project veers away also from
refined works of library music such as “Genti e paesi del mondo” (People and countries of the
world) or “Problemi d’oggi” (Today’s issues), released under the moniker of Zalla. In this case,
we like to imagine him absorbed in his Sound Work Shop studio, experimenting with synthesizers
with the same enthusiasm of a newbie in search of the perfect sound. Without renouncing
to pop(ular) elements, Umiliani seems almost to anticipate (or at least to be fully consistent
with) the sound research that will characterize the careers of musicians such as Roedelius and
Moebius in Germany.
As the same subtitle reveals, this was ‘a new way of making music’ through the use of the electronic
synthesizer – this happening in 1971 – with occasional interventions by the spinet and
the Hammond organ. And, with the exception of other little masterpieces such as “Il mondo dei
Romani and Tra scienza e fantascienza”, the most ‘avant-garde’ Umiliani can be found here,
among tracks such as “Synthi grottesco”, the outstanding “Synthetic Water”, “Synthi pianola”
and “Synthi pastorale”, excellent examples of a Maestro exploring new sounds and the future
of the music. Often forgotten and overlooked even by those self-proclaimed Umiliani lovers and
fans, “Synthi Time” is actually one of his best works.