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There’s a line from a childhood hallucination—sparked by a dentist’s chair and later reawakened by a Moog in a music shop—to the current moment where Chris Ianuzzi is sculpting surreal pop miniatures that feel both handmade and high voltage. “The Bells Rang On” takes that biography and condenses it: the discipline of a composer, the nerve of a post-punk lifer, and the appetite of a technologist who keeps pushing the red button.
Ianuzzi’s résumé is a map of electronic history in footnotes: performances for university composers (including that infamous piano attacked with a chisel and rubber wedge beside an ARP 2600), a pivotal stint as an electronic creative associate with Suzanne Ciani, and early work with Vangelis and Peter Baumann. Those years don’t simply credential him; they color the choices here—bells that behave like found foley, synths that breathe, percussion that reads as choreography rather than metronome.
At 4:41, the track rejects obvious arc. Instead, it accumulates—glancing motifs, twitchy low-end gristle, and a melody that feels etched into smoke. It’s catchy, yes, but never obedient. Where many experimental singles fetishize texture, Ianuzzi keeps the song at the center: a phantom vocal line, a motif that doubles as siren and joke, and negative space used like punctuation.
New York remains the invisible co-writer—neon, grit, and the confidence to be divisive. “Buy the ticket, take the ride,” quotes Ianuzzi, tipping a hat to Hunter S. Thompson. The ride here is sly and oddly humane: a surrealist bell tower built for the present tense.
Released on Satellite Symphonics (distribution: The Orchard/Sony) on July 25, 2025. Stream “The Bells Rang On” and follow Chris Ianuzzi via his site, Instagram, Bandcamp, Spotify.
