Uploaded July 2023 | Updated September 2026, 2 weeks ago
Alessio Natalizia, best known for his eclectic productions, emotive songwriting and exploratory collaborations as Not Waving, reunites with artists Michael Amstad and Marte Eknæs for a meditative visual accompaniment to his stunning new record, The Place I’ve Been Missing. Drawing together the wide variety of styles and moods we have seen Natalizia touch on with his work with Romance, Spivak and the late, great Mark Lanegan, as well as in his role as visionary label head of the always wonderful Ecstatic, The Place I’ve Been Missing plays out as an intimate and fragile reflection on grief and transcience, floating between synth-pop reverie and avant-garde elegy.
Amstad and Eknæs’ slow, cinematic assemblage picks out the contemplative qualities of Natalizia’s project, a structurally experimental response to a deeply personal statement that pulls focus on small moments of vitality and wonder. A spiritual successor to the “emotive collage of vérité lockdown footage” the artists pieced together for Natalizia’s debut album, How To Leave Your Body, The Place I’ve Been Missing unfolds like a tone poem, the film’s procession of imagery and digital manipulation serving as an elegant analogue for Natalizia’s own expansive and intuitive approach to composition.
“It shows the fragility and ephemeral quality of nature and animals as sisters and brothers,” the artists explain. “Some of the footage is shot with a thermographic camera, which creates images through infrared radiation instead of visible light. This opens up a different window to our environment from what we can see with the human eye. The colour spectrum from blue, via pink, to light yellow traces the cold and the heat and highlights the changes of living energy.”
The Place I’ve Been Missing is out now. You can find Not Waving on Instagram and at the Ecstatic Bandcamp.
Alessio Natalizia, best known for his eclectic productions, emotive songwriting and exploratory collaborations as Not Waving, reunites with artists Michael Amstad and Marte Eknæs for a meditative visual accompaniment to his stunning new record, The Place I’ve Been Missing. Drawing together the wide variety of styles and moods we have seen Natalizia touch on with his work with Romance, Spivak and the late, great Mark Lanegan, as well as in his role as visionary label head of the always wonderful Ecstatic, The Place I’ve Been Missing plays out as an intimate and fragile reflection on grief and transcience, floating between synth-pop reverie and avant-garde elegy.
Amstad and Eknæs’ slow, cinematic assemblage picks out the contemplative qualities of Natalizia’s project, a structurally experimental response to a deeply personal statement that pulls focus on small moments of vitality and wonder. A spiritual successor to the “emotive collage of vérité lockdown footage” the artists pieced together for Natalizia’s debut album, How To Leave Your Body, The Place I’ve Been Missing unfolds like a tone poem, the film’s procession of imagery and digital manipulation serving as an elegant analogue for Natalizia’s own expansive and intuitive approach to composition.
“It shows the fragility and ephemeral quality of nature and animals as sisters and brothers,” the artists explain. “Some of the footage is shot with a thermographic camera, which creates images through infrared radiation instead of visible light. This opens up a different window to our environment from what we can see with the human eye. The colour spectrum from blue, via pink, to light yellow traces the cold and the heat and highlights the changes of living energy.”
The Place I’ve Been Missing is out now. You can find Not Waving on Instagram and at the Ecstatic Bandcamp.







![An Trinse - Humic Acid Regress
As An Trinse, Northern Irish audiovisual artist Stephen McLaughlin reckons with the cultural history of Ireland with sound and image, mapping what he describes as “the uneasy atmospheres and silences left in the Irish psyche in the aftermath of colonial and religious repression, using archaeology and ancient history as a conduit.” Of particular interest to McLaughlin are bog fossils, specifically, the incredible preservative effects that the anaerobic environment of bogs can have in relation to natural tannic acids that result from the natural degrading of peat moss. “Bogs themselves contain a unique environment free of oxygen which prevents the growth of bacteria which would normally decompose flesh,” explains McLaughlin. “In their place are a species which degrades peat moss to form humic acid, which acts as a natural embalming environment similar to the process used when tanning leather.” This process can result in the perfect conditions for preservation, with ancient artefacts including bog wood, barrels of bog butter, entire farming landscapes enveloped by blanket bogs and bog bodies, with skin, hair and internal organs intact, having been found in incredible condition up to 5000 years after they were submerged in the wetlands. “There is a general mystery surrounding these artefacts,” continues McLaughlin, “and it is unknown whether the bodies were the result of human sacrifice, a punishment for a crime worthy of shame or honour, but they have captivated artists and thinkers as diverse and Joseph Beuys, Seamus Heaney, Sigmund Freud and Karl Jung whose feud over the meaning of these bodies inspired my earlier work, Corpses From the North. “They emerge as what Karin Sanders calls: ‘corporeal time capsules that transcend archaeology to challenge our assumptions about what we know about the past. By restoring them to the roster of cultural phenomena that force us to confront our ethical and aesthetic boundaries…excavates anew the question of what it means to be human.”
It is within this frame that An Trinse explores Ireland’s violent history of colonial and religious oppression, incorporating iconography and the fossilised prehistoric culture of Ireland into his abstract excavations of cultural memory. It was during research completed as part of a collaboration with Sardinian artist Il Santo Bevitore, the same collaboration that served as the starting point for the above audiovisual work, that McLaughlin made the discovery that some of the oldest human remains unearthed in present day Northern Ireland, which date back about 5000 years, share close ancestral relatives with native Sardinians. “It is hard for the archaeological imagination not to run with this,” continues McLaughlin, “given the similar myths of giants, megalithic constructions and the concentric rings that run through both cultures’ artwork, which has been found as far away as the USA, and imagine there was some ancient network running between these cultures. Maybe it was simply through the slow process of cultural transfer, but perhaps a more mystical technology.” It’s these twin secret histories of ancient technology that McLaughlin explores in Humic Acid Regress, setting a swirling soundscape of hypnotic drones, tumbling synthesis, passages of uncanny ambience and double bass, courtesy of Maxwell Sterling, against stroboscopic fragments of 3D renderings of prehistoric sites, grainy, monochromatic fractals stamped with ancient glyphs and science fiction schematics. Mechanised, filtered footage of abandoned human settlements, as though plucked from an archive for extraterrestrial research, is superimposed with a self-generating, organic user interface, as though the artist has recovered the advanced communications technology of a lost civilisation from unknown depths, dripping with bog acid.
“The piece itself was developed as the end of the current An Trinse live show that has been showing this year,” continues McLaughlin. “The backbone has remained, but what has gone over the top has been in flux, so I only recently had the idea of having Maxwell to provide strings to add some humanity to the chasms of noise.” You can catch Maxwell Sterling performing live with Stephen McLaughlin, who will provide live visuals, at Cafe Oto on December 6.
An Trinse will perform live at [ADSR]4, an experimental music event showcasing new and international sonic artists. Ticket are available now.
You can find An Trinse on Instagram and Bandcamp. An Trinse - Humic Acid Regress](https://i.ytimg.com/vi/IweB7DRBp6s/mqdefault.jpg)


