Sensations' Fix -

Sensations’ Fix was an Italian space-rock band that released six albums between 1974 and 1978 on Polydor.

Members: Franco Falsini (guitar, keyboards, vocals, 1974-75), Richard Ursillo (bass), Keith Edwards (drums, 1974-77), Stephen Head (keyboards, 1975-?, drums, 1976-?)

Background

Sensations’ Fix formed in Florence in 1973 when guitarist/keyboardist Franco Falsini teamed with bassist Richard Ursillo and American drummer Keith Edwards.

Falsini originated in Noi Tre, a beat trio with future Triade bassist Tino Nobile. After their 1966 Ginco Record single “Un Posto Dove” (b/w “Non Piangete, Io Son Contento”), Falsini cleared for Paolo Tofani, who later surfaced in Area and recorded as Electric Frankenstein. He did subsequent short-lived stints in the unrecorded bands Flying and Le Madri Superiori, the former with bassist Dave Anderson, an early member of Amon Duul II (1968/69) and Hawkwind (1971/72).

Around 1970, Falsini moved with his American wife to the United States, where he met Edwards (then-drummer of Okie xtian-rockers Seth) and learned multi-track equipment and synthesizers. By 1973, he settled back in Florence, where he played solo electronic sets and cut demos. He summoned Edwards for a new band with Ursillo, a veteran beat bassist (I Tremendi, I Chewing Gum) who recently cut an album (as Paul Richard) in Campo Di Marte, a symphonic-rock band on United Artists.

Sensations’ Fix linked with Polydor, which released their demos (Fragments of Light), followed by an unofficial promo record and the trio’s proper debut (Portable Madness) all in the span of one year.

Fragments of Light

Sensations’ Fix saw their first album, Fragments of Light, appear in early 1974 on Polydor, which assembled the contents from demos.

Fragments of Light consists of eleven brief instrumental vignettes and two vocal tracks, compiled from demos recorded by Franco Falsini prior to formal band formation. These early experiments, dominated by analog synthesizers and minimal structures, predate the more developed interplay of subsequent albums and serve as a concise introduction to the project’s electronic foundations.

Franco Falsini plays guitars, synthesizers (notably Moog and Eminent), and provides vocals on two tracks. His electric and acoustic phrasing weaves through layered analog textures, alternating between linear motifs and diffuse chordal swells. Richard Ursillo anchors select passages with low-end bass and electronic pedals, rarely occupying a melodic foreground. Keith Edwards provides drums and percussion, most audibly on longer ensemble-based pieces, where his patterns lock with Falsini’s looped textures or enhance rhythmic motion against static synth backdrops.

The album alternates between brief ambient sketches and rhythmically structured pieces. “Fragments of Light,” “Music Is Painting in the Air,” and “Life Beyond the Darkness” build around acoustic strumming under synth pads, invoking sequential patterns and contrasting tones. “Nuclear War in Your Brain,” “Metafel + Mafalac,” and “Music Without Gravity” rely on diffuse keyboard pulses, pitch swells, and cyclical loops to establish floating, timbral spaces.

Longer pieces like “Space Closure” and “Telepathic Children” feature extended synth leads, percussive entrances, and defined sectional changes. “Space Energy Age” and “Do You Love Me?” include vocals; the former merges sung lines with analog pulses and early drum machine textures, while the latter, more rudimentary in tone, recalls off-center singer-songwriter phrasing with a pop-derived structure. Falsini’s guitar emerges most prominently on “Windopax and the Stone Sender” and “Telepathic Children,” combining clipped lead lines with ambient layering.

A1. “Fragments of Light” (3:28) — Opens with strummed acoustic guitar layered under phased synth swells. Title reflects its concise sectional form.
A2. “Nuclear War in Your Brain” (3:41) — Dominated by cyclic analog tones and whispered synth overlays, evoking a dissipating structure.
A3. “Music Is Painting in the Air” (4:18) — Alternates two acoustic chords under keyboard sustains, gradually layered with electronics and reverb-laced figures.
A4. “Windopax and the Stone Sender” (2:30) — Features looped guitar phrasing over slow-moving synth textures; brief and tonal.
A5. “Space Energy Age” (3:52) — Uses a primitive drum machine under vocal lines and phased synth motifs. Lyrics: “Now I’m floating away… Space energy age…”
A6. “Metafel + Mafalac” (1:36) — Minimalist keyboard drones with no rhythmic movement; serves as a transitional piece.

B1. “Space Closure” (6:29) — Ensemble track with defined bass, drums, and layered synth leads; tempo shift at midpoint followed by wind-down ending.
B2. “Music Without Gravity” (2:10) — Keyboard-centered with sparse electronic accents; no meter or tempo structure.
B3. “Do You Love Me?” (2:55) — Original composition with vocals and acoustic rhythm; unrelated to the Contours’ 1962 song.
B4. “Life Beyond the Darkness” (3:44) — Combines acoustic guitar, synth pads, and high-register keyboard melodies in a folk-inflected framework.
B5. “Telepathic Children” (3:40) — Mid-tempo closer with rhythmic guitar motifs under synth overlays and structured electronic phrasing.

Falsini recorded the tracks at his home studio and assembled them for LP format after Polydor Italy offered a contract.

The original LP includes a fan-letter styled quote on the back: “Dear Robert, You’ll be glad to know that the heavenly music organization is here too,” referencing Falsini’s admiration for Robert Fripp.

Sensation’s Fix

Sensations’ Fix saw a batch of promo material appear as a (misspelled) self-titled album in mid-1974 on Polydor.

Unlike its predecessor, this set omits vocals entirely and presents a cohesive suite of instrumental miniatures sourced from earlier promo material. The recordings emphasize analog electronics and ambient layerers while introducing a broader interplay between guitar and synth textures. Despite the fragmented origins, the album flows as a self-contained work, balancing cosmic drift with rhythmic pulse.

Franco Falsini composed and performed the material using layered synthesizers and multi-tracked guitars. His phrasing alternates between clipped, ascending leads and cyclical motifs embedded in ambient textures. Richard Ursillo supports select segments with processed bass tones and sub-octave pedal effects. Keith Edwards interjects percussion on several tracks, reinforcing structural momentum in mid-tempo segments and accenting transitional shifts with snare and tom figures.

The album divides its short-form tracks into three general approaches. “Astride a Vibration,” “Muddy Candy,” “Wave,” and “The Leaven Appeared in the Sky” foreground the guitar, which cuts through ambient synth washes with declarative or gently modulated phrases. “Cosmic Fuel,” “Galactic Interference,” “Fall of Sensations of Earth,” and “Dust of Nothing” rely more heavily on layered oscillations and spatial drift, minimizing pulse in favor of texture. “Concentric Circles” and “Broad Mindedness” balance beat-based undercurrents with floating electronic tones and reverb-sustained guitar, while “S.N.S.T.N. – F.X.” uses percussive textures and clipped phrases for contrast. “Vertical Motion” closes the album with a slower-paced, introspective sequence marked by descending melodic lines.

A1. “Astride a Vibration” (3:20) — Synth and guitar interplay centers around an ascending motif; uplifting phrasing defines the lead figure.
A2. “Cosmic Fuel” (1:30) — Short analog soundscape focused on modulated tones and pulsing overlays.
A3. “Muddy Candy” (3:20) — Rhythm-driven track with electric guitar and arpeggiated synth; beat holds the arrangement.
A4. “Galactic Interference” (2:15) — Compact electronic sketch based on oscillating patterns and ambient tones.
A5. “Fall of Sensations of Earth” (3:15) — Features slow-moving synth layers with minimal tonal development.
A6. “Dust of Nothing” (2:00) — Combines spacey textures with arcing guitar lines; creates open-ended resolution.

B1. “Wave” (2:43) — Guitar-driven piece over synth ambiance; defines contour with single-note lead phrasing.
B2. “Broad Mindedness” (3:18) — Highlight track with melodic electric guitar set against soft synthetic backdrops.
B3. “Concentric Circles” (2:40) — Mid-tempo pulse with cyclical patterns in both rhythm and synth layering.
B4. “The Leaven Appeared in the Sky” (2:58) — Interweaves drums, guitar, and electronics into a unified statement.
B5. “S.N.S.T.N. – F.X.” (2:00) — Percussion and rhythmic guitar dominate this concise, pattern-based piece.
B6. “Vertical Motion” (2:15) — Slower-paced closer with descending melodic figure and subdued resolution.

Polydor assembled the pre-recorded sessions for the album, which rendered the band’s name as Sensation’s Fix (back-shifted apostrophe).

Portable Madness

Sensations’ Fix released their (third-recorded) proper debut album, Portable Madness, in late 1974 on Polydor.

Portable Madness marked the group’s first cohesive studio work as a full trio after the demo-assembled Fragments of Light and the promo-derived Sensation’s Fix. The material segues continuously across both sides, emphasizing fluidity of motion and sustained mood. The compositions interlace minimalist analog textures with active bass figures and Falsini’s angular guitar, generating extended tension through delayed cadences and melodic fragmentation. Though entirely instrumental, several pieces were later re-recorded with vocals on the 1976 album Finest Finger.

Franco Falsini plays guitar, keyboards, and synthesizers throughout, shaping each track around evolving combinations of Eminent string organ, Moog, and treated electric guitar. His phrasing alternates between linear leads, looped patterns, and chromatic counter-lines layered within shifting atmospheres. Richard Ursillo underpins most of the album with frontal, round-tone bass patterns, using pedal devices and octave jumps to define harmonic shifts. Keith Edwards alternates between anchored grooves and timbral percussion, punctuating transitions with cymbal-heavy figures or vibraphone resonance.

The album opens with the slow-blooming “Smooth and Round,” centered on Ursillo’s thick bass lines and Falsini’s phased Eminent textures, which return later in reverse on “Underwater.” “Fullglast” highlights guitar in a minor-blues tone before giving way to layered synth drones. “Phase One and Phase Two” expands on these ideas with rhythm section development, fluctuating dynamics, and dual synth–guitar peaks.

“The Next Place of Nobody,” built around pulse-free electronics, connects the two album halves, leading to the increasingly intense “Pasty Day Resistance,” where each instrument climbs toward layered saturation. “Leave My Chemistry Alone” and “Strange About the Hands” later reappear as vocal tracks on Finest Finger but originate here as more structurally complex, spacious versions. The album closes with “With Relative Jump into Water,” a sparse ambient piece of sustained Eminent pads and lightly modulated Moog.

A1. “Smooth and Round” (3:11) — Bass-driven opener with slow-build Eminent and phased guitar lines; reappears in reverse later.
A2. “Fullglast” (3:57) — Opens with minor guitar figures that give way to synth interplay; blues-tinged tonal pivot precedes ambient coda.
A3. “Phase One and Phase Two” (5:20) — Multi-part piece combining phased guitar, evolving synth layers, and low-end pulse with increasing complexity.
A4. “Underwater” (4:25) — Begins with looped Eminent theme, shifts into ambient midsection, and concludes with reversed motif from “Smooth and Round.”

B1. “The Next Place of Nobody” (2:01) — Pulse-free analog sketch with static harmony and oscillating textures.
B2. “Pasty Day Resistance” (5:25) — Incrementally builds tension through thickening bass and overlapping guitar/synth swells; climactic ensemble peak.
B3. “Leave My Chemistry Alone” (4:27) — Prototype of later vocal version; flows from twin-synth patterns into mid-paced guitar layering.
B4. “Strange About the Hands” (4:35) — Expanded instrumental version with cycling synth pads, staggered rhythm section, and distorted guitar leads.
B5. “With Relative Jump into Water” (1:50) — Ambient closer with continuous Eminent drone and upper-register Moog inflections.

Sessions occurred at the group’s farmhouse studio near Florence with producer Filippo Milani.

Portable Madness appeared in a light blue gradient sleeve designed by Mario Convertino with photography by Carla Pallini.

Finest Finger

Sensations’ Fix released their fourth album, Finest Finger, in 1976 on Polydor.

Finest Finger presents a more structured evolution of the group’s sound with tighter track lengths and increased vocal presence. The album introduces second keyboardist Steve Head and revisits material from Portable Madness, now re-recorded with added lyrics and reframed arrangements. Compared to the diffuse ambience of their prior work, this set favors defined themes and recurring motifs, while maintaining the spatial layering and analog textures that characterized earlier sessions.

Franco Falsini leads with filtered, acoustic, and electric guitars across both instrumental and vocal tracks, interspersing solo lines with effects-treated chords. His vocals appear on four songs in a subdued, slightly detached tone. He also contributes synthesizers and string organ textures, with Steve Head reinforcing key passages through Moog layers and tonal pads. Richard Ursillo rotates between deep-toned bass and fuzz bass, anchoring harmonic transitions and occasionally overdubbing guitar figures. Keith Edwards underlines the arrangements with tom-centric drumming and clipped snare patterns, heightening rhythmic contrast and reinforcing phrase shifts.

The album opens with “Strange About Your Hands,” a reworking of “Strange About the Hands” from Portable Madness, now with vocal phrasing woven into the structure and a tightened arrangement. “Just a Little Bit More on the Curve” highlights acoustic guitar overlays in stereo separation under subdued synth shading. “Yardbirds Dream” and “Map” sustain instrumental momentum through layered guitar motion, punctuated by organ passages and extended coda phrasing. “Boat of Madness” blends echo-laced guitar leads with subdued vocals and concludes with overlapping Moog effects.

Side two continues with the modular “Left Side of the Green,” where interlocking guitar themes yield to a second section (“Macumba Fog”) of polyrhythmic contrast. “Finest Finger,” another vocalized remake of a Portable Madness track (“Leave My Chemistry Alone”), appears with new verses and a melancholic organ-lined outro. “Into the Memory” ends the album with overlapping rhythm guitar figures and an elongated instrumental descent into echo and delay.

A1. “Strange About Your Hands” (3:50) — Re-recorded version of “Strange About the Hands” with added vocals; guitar and synth build in tandem.
A2. “Just a Little Bit More on the Curve” (3:20) — Acoustic and electric guitar interplay in stereo; slow-paced development with bass and cymbal washes.
A3. “Yardbirds Dream” (3:55) — Compact instrumental with guitar-driven lead and intermittent keyboard textures.
A4. “Map” (4:55) — Steady rhythm with layered guitar phrases and organ interludes; expands toward a prolonged final theme.
A5. “Boat of Madness” (3:20) — Vocal track with rising electronic presence; ends in psychedelic abstraction with Moog overlays.

B1. “The Left Side of the Green (Including Macumba Fog)” (5:15) — Two-part piece; cyclical guitar theme shifts into a rhythmic section with interlaced bass and synth.
B2. “Finest Finger” (3:40) — Revised version of “Leave My Chemistry Alone” with lyrics and additional organ textures.
B3. “Into the Memory” (6:10) — Longform closer with alternating guitar lines; concludes in echo-drenched instrumental descent.

Sessions occurred at the group’s self-built studio outside Florence with production by the band.

Finest Finger features a cartoon drawing of the group in a subway setting. The original gatefold includes a photograph of the band at work in their makeshift studio.

Boxes Paradise

Sensations’ Fix released their fifth album, Boxes Paradise, in early 1977 on Polydor.

Boxes Paradise marks the band’s full transition into song-based format, with vocals featured on every track for the first time. The material incorporates reinterpretations of earlier instrumentals from Portable Madness, Finest Finger, and Franco Falsini’s 1975 solo album Cold Nose Story, now expanded or recombined with lyrics and ensemble arrangements. While still rooted in analog electronics and modal phrasing, the album adopts tighter structures, cleaner production, and a more composed melodic sensibility.

Franco Falsini leads the sessions with filtered and electric guitars, Moog textures, and all lead vocals. His vocal lines shift between compressed head-voice phrasing and clipped rhythmic accents, often working against staggered meter. He also produced the album and arranged the reworked material. Steve Head contributes keyboard parts and electronic percussion (notably on “Visions Fugitives”) while also assisting vocally on the opener. Richard Ursillo alternates between full-tone and fuzz bass and plays additional guitar. Keith Edwards applies a more structured drumming approach than prior albums, complementing the rhythmic precision of the vocal tracks.

Matt Noble plays bass on “Faux Batard,” “Boxes Paradise,” and “Voices,” providing a lighter counterbalance to the band’s usual low-end tone. Guest artist Cloud 9 adds synthesizer to “Boxes Paradise,” interweaving oscillating effects during the instrumental midsection.

The album opens with “The Flu,” a streamlined track built around a syncopated vocal pattern and clipped guitar motifs. “Faux Batard” emphasizes symmetrical phrasing and a bright instrumental timbre. The title track combines a lyrical introduction with an extended instrumental section (“Short Flights”), which recalls earlier spacerock textures. “Voices” places repeated vocal phrasing over a syncopated pulse and ambient guitar overlays. Side two opens with the longest piece,

“Mother’s Day,” which incorporates and reshapes themes from Cold Nose Story into a through-composed suite with shifting time signatures (notably in 5/4 and 7/4 sections). “Luna Slain” derives from “Fullglast” on Portable Madness, now structured around vocals and subtle instrumental modifications. The closing track, “Visions Fugitives,” fuses “Just a Little Bit More on the Curve” and “Yardbirds Dream” from Finest Finger, now unified by vocal overlay and added electronic percussion.

A1. “The Flu” (4:20) — Vocal track with tight rhythmic guitar patterns and driving pulse; alternating verse–chorus form.
A2. “Faux Batard” (3:25) — Structured arrangement with upper-register guitar leads and brighter vocal tone.
A3. “Boxes Paradise (incl. Short Flights)” (6:15) — Two-part suite; vocal section leads into extended instrumental with guest synth textures.
A4. “Voices” (4:54) — Repeated vocal motif over steady rhythmic drive and modulating guitar lines.

B1. “Mother’s Day” (7:24) — Composite piece drawn from Cold Nose Story; fluctuates between lyrical segments and polymetric instrumental sections.
B2. “Luna Slain” (4:50) — Reworking of “Fullglast” with vocals and structural compression; retains original modal phrasing.
B3. “Visions Fugitives” (6:44) — Combines themes from Finest Finger tracks with new lyrics and programmed percussion.

Falsini recorded and produced Boxes Paradise at the group’s studio near Florence.

The front and back cover feature an airbrushed profile of a silver-haired figure in duotone, contrasting earlier artwork with a minimal, post-psychedelic aesthetic.

Vision’s Fugitives

Sensations’ Fix released their sixth album, Vision’s Fugitives, in late 1977 (US only) on All Ears, a Hollywood private label.

Vision’s Fugitives completed the band’s shift toward a leaner, vocal-led format, dominated by compact guitar songs with intermittent synth elements. Though released under the band name, the album functioned largely as a studio vehicle for Franco Falsini, who composed, arranged, and produced all tracks. The material continues the pattern of revisiting and reshaping earlier pieces, often with newly written vocal parts and altered instrumentation. Compared to the layered sonic haze of earlier records, this set is more immediate and guitar-forward, with less reliance on ambient textures.

Franco Falsini performs guitars, synthesizers, and all lead vocals. His phrasing is more defined and dynamic than on prior albums, alternating between sustained lines and spoken fragments. His guitar work blends rhythmic overlays with filtered leads and delay effects. Richard Ursillo returns on bass, anchoring most tracks with subdued harmonic motion. Steve Head handles drums across most of the album and contributes keyboard parts to “Vision’s Fugitives: The Crowd.” Marco Marcovecchio plays drums on two tracks, including “She’s Gonna Grow on You,” a rework of “The Flu” from Boxes Paradise. Keith Edwards appears only on the title track, which is a direct lift from the previous LP, itself derived from Finest Finger instrumentals.

The album opens with “Project Wishing Well,” a mid-tempo vocal number with alternating synth and guitar phrases. “Fleetwood Trip L-track” is a looped guitar experiment modeled after Fripp & Eno’s tape-delay techniques. “Barnhaus Effect No. 2” introduces Marcovecchio’s tight snare work under layered vocals and short synth interjections.

“Fix a Drinking Fountain” quotes a fragment from Falsini’s 1975 solo album Cold Nose Story in its closing seconds. “Fortune Teller” and “Charlotte’s Observer” follow the album’s central template of post-Finest Finger songcraft: cyclical chords, synth support, and a subdued vocal line.

“Warped Notions of a Practical Joke” departs into minor-key acoustic blues before transitioning into a brief synth solo. “Chelsea Hotel (Room 625)” builds tension with chromatic synth textures and descending guitar phrases. “She’s Gonna Grow on You” mirrors the structure of “The Flu” but shifts the rhythmic emphasis and vocal delivery. “Vision’s Fugitives: The Crowd” recycles earlier instrumental themes under new verses, while “Overflowing Ashtray” closes the album with a short instrumental vignette.

A1. “Project Wishing Well” (3:11) — Verse-based structure with alternating synth and guitar motifs under clipped vocals.
A2. “Fleetwood Trip L-track” (2:08) — Tape-looped guitar phrases modeled after No Pussyfooting-style delay work.
A3. “Barnhaus Effect No. 2” (4:35) — Full-band song with mid-tempo snare patterns and phase-shifted synth backing.
A4. “Fix a Drinking Fountain: Cold Nose Flashback” (3:11) — Vocal cut that ends with a direct excerpt from Cold Nose Story.
A5. “Fortune Teller” (5:03) — Alternates short lyrical verses with rising guitar and synth progressions.
A6. “Warped Notions of a Practical Joke” (3:34) — Acoustic blues intro with a synth-driven second half.

B1. “Secret Orders for Operation Brainstorm” (3:15) — Centered on Falsini’s vocals over a rhythmically steady arrangement.
B2. “Chelsea Hotel (Room 625)” (2:39) — Minor-key synth textures and descending motifs; darker tonal palette.
B3. “She’s Gonna Grow on You” (4:29) — Reworking of “The Flu” with altered drums and vocal delivery.
B4. “Vision’s Fugitives: The Crowd” (6:38) — Revised version of Boxes Paradise title track with vocals added.
B5. “Charlotte’s Observer” (3:58) — Vocal-led track with rhythmic guitar phrasing and delayed Moog lines.
B6. “Overflowing Ashtray” (1:30) — Final instrumental vignette with ambient textures and loop decay.

Falsini produced and arranged Vision’s Fugitives, an exclusive US release by All Ears. The album features a cover painting by Loutfi Jacobian.

Flying Tapes

Sensations’ Fix released a TV soundtrack, Flying Tapes, as their seventh album in July 1978 on Polydor.

Flying Tapes functions as a career-spanning retrospective, compiling nine standout tracks from the group’s 1974–77 output in newly remixed or re-recorded versions. Unlike standard compilations, the band reworked several selections to emphasize clarity, structural definition, and improved sonic balance over the earlier home-produced LP mixes. In doing so, Flying Tapes presents an alternate history of Sensations’ Fix — less diffuse, more sculpted — at a time when their layered instrumental textures were increasingly sidelined by changing trends. Though assembled post-peak, the album captures the band at full creative strength, with many of the remixes surpassing the originals in cohesion and presence.

Franco Falsini provides guitars, vocals, and production across the album, enhancing several pieces with new phrasing and extended solo sections. Stephen Head adds Moog and keyboard textures that round out the harmonic space and replace earlier tape-saturated passages with cleaner analog synth overlays. Richard Ursillo contributes updated bass lines and rhythmic adjustments, while Keith Edwards returns on drums, offering a tighter, more articulate performance across the newly tracked rhythm sections.

Side A draws primarily from Fragments of Light and Portable Madness, with notable remixes of “Fragments of Light” and “Music Is Painting in the Air” that showcase crisper guitar layering and newly foregrounded synth swells. “Leave My Chemistry Alone” and “Strange About the Hands,” originally instrumental standouts from Portable Madness, appear here in reshaped, intensified forms with pronounced rhythmic dynamics. “Cold Nose Story” provides an atmospheric interlude sourced from Falsini’s 1975 solo album Naso Freddo, introduced here with expanded synth bass and reverberated vocal textures.

Side B features updated versions of “Boat of Madness” and “Faux Batard,” retaining their original vocal elements while integrating extended instrumental codas and cleaner rhythmic focus. “Fleetwood Trip L-Track” and “Warped Notions of a Practical Joke,” originally from Vision’s Fugitives, are presented in stripped-down instrumental form, with the latter track benefiting from a sharper dynamic arc and newly centered drum work. While no new material appears, the album recontextualizes the band’s existing catalog through more refined sonics and a continuous sequence that preserves the flow of a full-length studio album.

A1. “Fragments of Light” (3:30) — Rebalanced version with sharper guitar tone, extended phrasing, and background synths clarified in the mix.
A2. “Music Is Painting in the Air” (3:27) — Rhythmic pulse enhanced under revoiced guitar solo; synth pads fade in and out with greater spatial depth.
A3. “Leave My Chemistry Alone” (4:02) — Rhythmic and harmonic structure tightened; percussive clarity and bass tone markedly improved.
A4. “Strange About the Hands” (3:00) — Remixed with denser midsection textures and more prominent guitar phrasing.
A5. “Cold Nose Story” (4:22) — Drawn from Naso Freddo; dreamlike vocal overlays float over ambient synth and sustained guitar figures.

B1. “Boat of Madness” (5:36) — Features extended outro and guitar coda absent from Finest Finger version; rhythm section pulled forward in mix.
B2. “Fleetwood Trip L-Track” (2:15) — Brief delay-loop experiment featuring layered guitar and filtered bass textures.
B3. “Warped Notions of a Practical Joke” (4:18) — Remixed version with added spatial definition and a rhythmic build-up centered on strummed guitar.
B4. “Faux Batard” (3:15) — Retains vocal structure of Boxes Paradise version with enhanced midrange presence and deeper synth bed.

Falsini remixed, rearranged, and produced the tracks for television broadcast in collaboration with RAI.

Discography: