Most known for his work with the band Nine Inch Nails and his recent solo work, Alessandro Cortini started his journey as an Italian studying the guitar at the Musicians Institute in Hollywood and recording music as the frontman of the band Modwheelmood. Before joining the Nine Inch Nails he became increasingly interested in synthesizers and sound synthesis which has shaped his musical projects and work released under his own name and established him as an important figure in the world of synths. He has more than a dozen releases under his belt, including a collaborative project with Lawrence English and another with Merzbow.
His last album AVANTI from 2017 was planned around a live audio-visual performance combining the old Super 8 archive footage of his family and early childhood with the melodic epics recorded and performed with a multitrack cassette player, rendering the sound and image with the familiar noisy nostalgia.
His latest, Volume Massimo, coming out in September 2019 at Mute Records, continues his melodic ambiental compositions that combine the infectiousness of pop/rock melodies and vast noise-textured journeys. Its press release describes it best: “'Volume Massimo' takes flight, journeying into a meditative process that gently twists time and memory in its wake with a deftly arranged ensemble of synthesizers saturated with sonic artifacts. Often the foreground is luscious, and hints at Cortini's pop sensibilities, yet this comes with a wry promise, as the background takes us down a vast melancholic maze. Perhaps surprisingly, his latest work is interspersed with guitar motifs that act as a subtle punctuation for the oneiric landscapes that shimmer before us. Batticuore is an exquisite and dizzying carousel that folds some of Cortini's bolder guitar work into a glorious pop epic, while La Storia ascends the same heights via a different route, pitch-shifting and layering a synthetic lead with a finely tuned noisescape before giving way to the mournful grind of Sabbia. Boldly presented with richly saturated imagery by Emilie Elizabeth and Raki Fernandez, 'Volume Massimo' is a work as confident as it is tender, and its cover proclaims this.”