Mustek – Summer Of Blood (Video Premiere)

The Project:

Mustek are a duo from Reggio Emilia (Paolo Bardelli, vocals and synths / Fabrizio Ascari, guitars, bass and programming) who would like to be a bridge between analogue and digital. They have four EPs to their credit that are a snapshot of their different periods: if in the first demo “L’Ora Inquieta” (2005) they frequented the spaces of an electronic-acoustic pop seasoned with trip-hop tinges, in “Dove Ci Siamo Incontrati” (2011) they moved on to a ‘handcrafted’ electro-pop and with “Notturno” (2015) towards more algid and cold territories, while with “Nuvole” (2020) they visited urban and psychedelic places.

Mustek (by Lorenzo Ascari)

Devoted to ‘female vocals’, over time Mustek have hosted the charming ones of Jyoti Guidetti (Babel), Cristina Silingardi (the band’s ‘historic’ singer), Alice Montagna (Errezero), Maura Rinaldini and Bianca Pasquesi (MilaServeAiTavoli), before landing on the male voice of Paolo. With the single ‘Summer Of Blood’ (2022) they use an artificial intelligence, Lucy, sing: woman or man? Over time, they collaborated with writer Giovanni Fantasia for “Introduzione alle città” and with painter Fosco Grisendi for the cover of “Notturno”. Their version of “A Means To The End” was included in the Joy Division tribute CD entitled “A Different Story – Songs by Joy Division” (2010), conceived and commissioned by Daniele Carretti and the unforgettable Enrico Fontanelli of Offlaga Disco Pax, with Julie’s Haircut and others.

The Song: Summer Of Blood (Video Premiere)

In a time when algorithms are beginning to direct mankind, Reggio Emilia-based Mustek are back with a single, Summer of Blood, in which they make an artificial intelligence sing as a conscious choice: Lucy, that is her name, is in fact software. Would you have recognised her?
Mustek also wanted to imagine Lucy, and built her digitally so they are able to show her face: it is she who sings in Summer Of Blood, that much is indisputable.
Summer of Blood sees Mustek return in part to the triggers and impact of electric guitars, albeit always within their signature electronic guise. The setting is a little apocalyptic, because instead of a ‘summer of love’ we are faced with a ‘summer of blood’: the current war situation was not foreseen when the song was recorded but becomes a tragic coincidence.
The single is released on Fabrizio Tavernelli’s Lo Scafandro label.
The cover is a photo by Martina Traina.




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