Tomografia Assiale Computerizzata ‎– Tomografia Assiale Computerizzata (1983, LP, Italy)

Lato A
A1 Un Umido Motivo (2:56)

A2 I Sette Piani Dell' Esperienza (3:02)

A3 Cerco Lavoro (2:44)

A4 Microprocessore (1:31)

A5 Citocromo (4:32)

A6 Onde Corte (6:14)

Lato B
B1 Autistico (2:46)

B2 Percussioni (4:15)

B3 Introdotta La Scrofa Nel Mattatoio (5:02)

B4 Quasi Pieno (3:13)

B5 El Motel Electrico (1:23)

B6 49° Parallelo (2:15)

Musicians

Bass, Percussion, Drum Machine, Backing Vocals, Tapes – Andrea Azzali

Synth, Tone Generator, Trumpet, Backing Vocals – Fabio Cortesi

Guitar, Synth, Keyboards, Violin, Balafon, Zurna, Percussion, Tapes – Simon Balestrazzi

Drums, Percussion – Giampaolo Terenziani

Vocals, Trombone – Giorgio Barbuti

Guest

Piano – Andrea Salvini

Alto Saxophone – Stefano Zanzucchi

Soprano Saxophone, Tenor Saxophone, Congas – Marco Gorreri

Tomografia Assiale Computerizzata began as a one-man-band hiding the multi-instrumentist and sound engineer Simon Balestrazzi, which would later join Kino Glaz, Kirlian Camera, Bron Y Aur.

His first LP under the name T.A.C. came out in 1983 (or maybe in 1982) and features a very peculiar, Nurse With Wound-ish sound interbreeding such diverse styles as no-wave, electronic experimentation, progressive rock, radical improvisation and post-punk.
The rattling, crunchy guitar sound isn't far from Fred Frith's distinctive style in his no-wave project Massacre, and the shattered jazzy orbits it follows are quite close too. The telluric funk-punk basslines contribute creating bony, deconstructed pieces with everchanging rhythms and meters. Then come the electronic incursions of polluted radio frequencies and background buzzes, which give the music an eerie, dismantled feeling.
The lyrics are often quasi-nonsensical, but reflect the aftermath of the strong political engagement of the Seventies. Repetition and obsessive rants are the key elements of Balestrazzi's neurotic vocal style.
T.A.C. sound is completed by occasional free saxophone bursts, atonal piano figures and sparse folkloric remindings. The final result is something between Henry Cow, This Heat, The Work, with a more sinister, industrial mood. (Il golpe e l'uva)