FEED is Molto Ohm’s first album. Molto Ohm is the project of musician and creator Matteo Liberatore. FEED aims to capture the fragmentation and alienation of modern life—an exploration of ambition, consumerism, purpose, intimacy, and self-awareness, juxtaposed with a longing for calm, joy, and human connection.
| # | Audio | Title/Composer(s) | Time |
|---|---|---|---|
| Total Time | 29:38 | ||
| 01 | Are You Making Money | Are You Making Money | 1:30 |
| 02 | $$$$$$ | $$$$$$ | 3:15 |
| 03 | Were You Dreaming Yesterday | Were You Dreaming Yesterday | 3:00 |
| 04 | Sponsored #1 | Sponsored #1 | 3:00 |
| 05 | Legend | Legend | 2:31 |
| 06 | Code 11 (Mist) | Code 11 (Mist) | 1:45 |
| 07 | A Place Far Away | A Place Far Away | 3:36 |
| 08 | The Party | The Party | 3:36 |
| 09 | After All (Mark) | After All (Mark) | 0:57 |
| 10 | Are You Beautiful (Demons) | Are You Beautiful (Demons) | 4:00 |
| 11 | Growth | Growth | 2:28 |
Daily existence is rapidly evolving, with rituals that once occurred entirely in the real world happening increasingly behind screens. It’s a change that has left many feeling trapped within a pane of glass. Moreover, in the past five decades, traditional social safety nets have increasingly given way to an ethos of personal responsibility. The onus is now on individuals to care for themselves, with any failure to achieve a balanced life being seen as their own fault, perpetuating a cycle of stress, abandonment and anxiety.
In FEED, an ambitious debut album by Molto Ohm, creator Matteo Liberatore urges us to confront these realities. The project highlights how capitalism’s relentless drive to commodify everything has left many subjugated by the promises of an unattainable life. Advertising, consumer technology, and the culture of self-optimization dangle visions of happiness, peace, and prosperity. Deep down, we know that these promises are often hollow, designed to sustain an economy where alienation and dissatisfaction drive consumption. Yet, the pull remains powerful, leaving many feeling estranged from themselves and their world.
Read MoreThe aim of FEED is to capture the battles between material comfort and bodily alienation; ecstasy and ennui; engagement and weariness. To establish this, Liberatore recontextualizes familiar signifiers: Heavy dance beats, glitchy effects, connection static, motivational speeches, sales pitches, podcast-like confessions, and (faux) ads. The sonics span EDM and abstraction; snippets of yearning songs flash by, and dissonance interrupts lulls. Commanding synths shimmer and stab, while wavy melodies offset the tension. Wistfulness is ever-present, Liberatore conveying that something is being lost. The music is looking to a new paradigm.
As an immigrant that moved to New York from a small village in central Italy, Liberatore experienced the cultural shift of transitioning from a stereotypically quiet and idyllic place to the world capital of art and capitalism. After more than a decade in New York and the absorption in the experimental music world (with albums and countless collaborations with Mark Kelley, Elliott Sharp, Taja Cheek, Gold Dime, Amirtha Kidambi, Ava Mendoza, Brian Chase and many more) Liberatore felt the urge to come to terms with his hybrid existence, reconnect to his lost teenage years overseas, the love of italian pop music, 90s Eurodance nostalgia, small manual cars, the waveless Adriatic sea, and to make sense of this constant feeling of unrest and race towards an elusive, imagined destination.
Liberatore anchors FEED’s production in a loud, contemporary style that marries hyperpop energy and festival friendliness, complicating it with atonal timbres, environmental sounds, and human voices. The music morphs and shifts. The quiet moments are brief and artificial; soulful warmth flickers; noise bursts through, disrupting the transmission. Maybe we can still push back against the corporate machine and retain a hint of autonomy, imperfection, and organic beauty. The inclusion of a Mark Fisher quote in track nine, After All (Mark) is fitting. “After all, what could be more shattering, unassimilable, and incomprehensible, in our hyper stressed, constantly disappointing and overstimulated lives, than the sensation of calm joy.” Like the critic- turned-theorist, Liberatore confronts shattering and incomprehensible dread in our overstimulated lives, where even “calm joy” has been heavily commodified and sold to the willing bidder, leaving no escape for the soul.
– Matteo Liberatore
Music by Molto Ohm
Mix by Chris Connors
Master by Alex DeTurk
Album Cover by Brianna DiFelice
Matteo Liberatore’s new project, Molto Ohm, is a sonic and visual exploration of the fragmentation and alienation of modern life.
Through a juxtaposition of sporadic dance beats, seductive voices, synthetic melodies, and environmental sounds, the music captures the tension between consumerism, commodification, anxiety, and affect regulation, along with a deep yearning for calm, joy, and human connection.
In live performances, Molto Ohm integrates a vertical screen projection that expands on the ideas expressed in the music, immersing audiences in a world of screen recordings, 360-degree footage, iPhone footage, and stock imagery— adding complementary themes such as digitization, detachment, online experience.
Since its debut in 2023, Molto Ohm has performed live, received commissions from organizations such as Composers Now and Metropolis Ensemble, and collaborated with artists including Ka Baird, Taja Cheek (L’Rain), Lester St. Louis (HxH), more eaze, Alyse Lamb (Parlor Walls), Brian Wenner and more.
Matteo Liberatore is an artist and composer working in experimental music and intermedia art.
Now based in Brooklyn, Liberatore spent much of his life in the medieval region of Abruzzo, Italy, amidst dramatic landscapes that are reflected through a performance and composition style of “unsettling beauty” and “striking physicality” (The New York City Jazz Record).
Since 2018, he has released several records that dance between free improvisation, contemporary classical music, and noise music, including Solos (2018, Innova Recordings), Neutral Love (Duo with Amirtha Kidambi, 2021, Astral Editions), Death In The Gilded Age (Quartet with Ava Mendoza, gabby fluke-mogul, and Joanna Mattrey, 2021, Tripticks Tapes), and Lacquer (2022, Tripticks Tapes).
Since 2014, he has collaborated with a wide variety of artists and musicians such as Mark Kelley, Brian Chase, Elliott Sharp, Taja Cheek, Gold Dime, and many more. Over the years, he has played hundreds of shows, from DIY venues and museums to festivals and landmark stages such as The Stone and King’s Theatre.
His work has been reviewed and featured in Entertainment Weekly, All About Jazz, Paste Magazine, WNYC, Free Jazz Blog, and more. His first solo guitar album Solos was included in Ted Gioia’s 100 best albums of 2018.
During his formative years, Liberatore studied classical guitar under Maestro Marco Salcito at Conservatorio di Foggia, philosophy at the University of L’Aquila, and obtained his M.M. in Jazz Performance at NYU.
In 2023, Liberatore merged his lifelong interests in moving images and cultural studies with his musical experiments to create the project Molto Ohm. The first Molto Ohm album is slated for release in March 2025 on New Focus Recordings.
Since moving to New York, Liberatore has been an active member of the music community, organizing events in both venues and DIY spaces.
New Focus Recordings is an artist-led collective label featuring releases in contemporary creative music of many stripes, as well as new approaches to older repertoire. The label was founded by guitarist Dan Lippel, composer Peter Gilbert in 2004, and composer/engineer Ryan Streber in 2004, formed …Read More …
Listen to full streaming tracks while you browse the site. New tracks enabled for streaming every month. Click on the button to open up the radio player.
