Born in Florence, Italy in 1948, Franco Falsini became a teenage rock ‘n’ roll convert through a steady supply of 45s sent home by his London-based sister. Following his sister’s footsteps to swinging 60s London, Falsini put his love of music into practice, fronting a space-blues trio that riffed its way from the UK back to Italy in a Ford Transit. Soon after, Falsini became smitten with an American girl and moved to Virginia with her in the summer of 1969. At this time, Falsini recorded his first material as Sensations’ Fix, transforming their basement into home recording studio that has impressed upon inward resourcing and reflecting musicians and DIY enthusiasts in the decades since. A technology stalwart, Falsini employed a floor model MiniMoog and a tricked-out Teac 4-track machine.
These early recordings led to Fragments of Light, a collection of deal demos flipped into the first of six Sensations’ Fix albums released over the next five years. Relocating back to Italy on the heels of Fragments’ release, Falsini, alongside drummer Keith Edwards and bassist Richard Ursillo (both American expats), charged through another two Sensations’ Fix albums, Portable Madness in 1974 and Finest Finger in 1976, and a stunning solo album Cold Nose (Naso Fredo) in 1975. Falsini and his band of psychedelic renegades soon left Italy for the golden shores of California; Vision’s Fugitive followed in 1977, and Boxes Paradise shortly after.
Falsini spent the next couple decades between New York City and Paris creating electro-pop (The Antennas) before returning to Florence to launch the Interactive Test dance music label. Most recently, he embarked on the sonic retroescapades of Music is Painting in the Air, a collection of new mixes and unheard music from 1974-77, for which Falsini and his son Jeyon set forth on a year-long voyage to restore and revisit the original Sensations’ Fix analog tapes. Honoring Falsini’s tradition of autonomy, this collection, as with the majority of the Sensations’ Fix catalog, was mixed solely by Falsini. The sequence is chronologically defiant, encouraging the listener to free associate the recurring themes’ origins and immerse in the body of music as its own universe.