The Plaster project, originally composed of Gianclaudio Hashem Moniri and Giuseppe Carlini, has proven on several occasions that it can easily step out of its comfort zone by offering a range of perspectives on electronic music, each more different than the last.  Thereby, ruling out any possibility of categorising it in a rigid way.

Mostly characterized by a dark attitude, and a direction which aims to mix ambient music, deep beats and sharp sounds. The project, now solely directed by Gianclaudio Hashem Moniri, gets manipulated like modeling clay and offers us today a release far from the opposite pole, industrial/noise-oriented, of the album Transition released in 2018 on Kvitnu. Once again, he’s thinking outside the box and proves that he’s able of expand into a full range of brand-new boundaries with the powerfull forthcoming PULSE album. Talking about this release, I would leave the Dark attitude that has been attributed to describe the project so far, and replace it by a Powerfull-Trance dominance.

PULSE offers 7 tracks, and a few days ago Plaster shared “PLS#6” via his official Youtube channel. This track was a clear announcement of an unconventional album by Plaster. And a full listening of the album confirms that it is far from being linear. Indeed, the intro of PLS3 refers me directly to one of Gianclaudio Hashem Moniri’s other projects, Coulds After Rain. A much more Ambient project that he has been developing for at least 2 years. But the development of this track has something I like a lot. It’s the kind of track that was playing in the after-clubs that I frequented in the 90’s, just when you go to the bar to get a drink and an irresistible urge to dance takes you unexpectedly. You quickly put your drink in the palms of your hands and you rush to the dance floor, with the hope that there will be something left in your glass once you finish dancing! It’s a track that I like particularly, because it allows me to let go, to forget what I’m listening to and gives me the chance to escape. Some might say that it’s “easy” to make a track like that. I would say it’s quite the opposite! It’s a great ability to make people forget, just to give you the chance to fly away. There’s nothing simple about it!

Now to talk about “PLS#2”, As far as I can remember, I don’t ever recall hearing Plaster use Acid sounds. So, lend an ear (better both!) to this track when the album is released. His way of staging that sound is beyond belief. The way in which he successively interweaves the different layers of sound will drive your brain into a spin! There is no complexity at all in this album, but a careful research into the successive sound layers, which will transport you, you alone, into a world that others will probably never reach.

“PLS#7” will take you into even different scenery, rich in combined synths patches with 80’s and cinematic touches, along with the purr of its bass, turn it into a perfect closing track. And I will probably be the only one to find meaning in what I say, but if I had to give an evoking title to the track PLS#5, I would have named it: “Mika should have been born in the 80’s”.

Today, Sonofmarketing is very delighted to provide you with “PLS#1“, a second excerpt of this release planned for the 18th of September.

For an optimal listening, wear headphones and Listen to LOUD!!


As reported in the short press description, PULSE is a live performance developed by Plaster for Acusmatiq Festival (2019) and than supported by Dalila D’amico (former Vjit3) for the visual part. The audio part was performed and recorded @ Acusmatiq Festival (Ancona), Taps Vol.2 Festival (Ascoli Piceno) and Radical Glitch Festival (Klang Rome). Edited during lockdown.

To be released through Bandcamp on Sept 2020.