Supercinema Records is based on a dream translated onto a storyboard. It is the meeting of two minds, Graziano Umile, cofounder of the Ways events in Italy and Alfredo Mazzilli, one of the fresh talents to emerge from the Italian techno scene.
Sit down, relax, the movie is about to start:
It’s 1977. There’s a chill in the air, like on a usual December evening. It’s cold, but the night is fraught with a strange ferment, a mysterious energy that seems to announce a revolution. It’s 9.03 pm, and two guys are creating something in a dark basement on Bushwick Avenue, Brooklyn. One is fond of science and space, the other is keen on music and cinema. The young men are united by a sort of dreamy romanticism that two guys are endowed with only in an age of revolution. Something is moving beyond the door of the spare cellar. Scientific progress is getting close, cars and airplanes are making their first appearance in the collective imagination – they are coming out of the paper projects and they are beginning to take form. Everything is bright, shiny, but it’s in a cloud of opacity at the same time, just as the pictures of those years. The young men are two genius, or maybe they are just two wishful thinkers, but they yearn to invent the future through a musical and visual journey. In the darkness of their basement, they are working hard to build synthesizers able to reproduce the idea people of that time had about the outer space. Using their knowledge of electrotechnics, the teenagers outline synths in order to recreate the sound of the cosmos.