Larsen – Decalcomania

When it comes to the Italian experimental scene, few names carry the same weight and sheer longevity as Larsen. Hailing from Torino, this collective has spent the last three decades operating as a cult institution, releasing nineteen albums and collaborating with a literal “who’s who” of the avant-garde world—think Michael Gira, Xiu Xiu, Nurse With Wound, and many more. They have always been masters of a certain cinematic, uneasy atmosphere, but in 2026, they have returned with a monumental shift in their vast discography. Their 20th full-length album, Decalcomania, marks a significant chapter for the band. Released via Erototox Decodings, the record is the final document in the lineup, featuring the historical member Roberto Maria Clemente. It’s a bittersweet milestone, produced into its final form by none other than the ambient legend William Basinski. If you’re a fan of electronic music that refuses to sit still, blending elements of lounge, dub, and pure experimentalism, this is a mandatory addition to your collection. The title itself, Decalcomania, refers to the surrealist technique of transferring an image from one surface to another. It’s a fitting metaphor for the band’s process here. The album explores themes of metamorphosis, the degradation of memory, and the “unexpected surprises” that arise when a musical sketch is handed over to another artist to finish.

The record dives into a series of surreal, almost noir-like narratives. There is a sense of traveling through a sonic landscape where the familiar, the classic Larsen sound, is constantly being remapped and transferred onto new, strange territories. It explores the tension between the organic and the electronic, the free sketch and the final, polished production. It’s a record about transitions, both for the band’s lineup and for the sounds themselves as they evolved from sketches in Torino to final mixes in Los Angeles. Musically, Decalcomania is a comprehensive collection of lush synth themes and intricate sonic maneuvers. Basinski’s influence is notable, smoothing out some of the band’s more abrasive edges into something more atmospheric and, at times, hauntingly beautiful. The synthesizer work provides a massive, wide-screen backdrop, filled with harmonies and melodies that feel like they are floating in a thick, electronic fog. The band utilizes a variety of electronic textures to create a rich, layered environment. You get these deep, immersive pads that act as the foundation for more experimental avant-garde flourishes. It’s a record that rewards deep listening, as there are dozens of subtle details, oscillating frequencies, ghostly echoes, and shimmering harmonies, tucked away in the mix by Paul Beauchamp and Gary Thomas Wright.

To ground these ethereal synth themes, Larsen employs some incredibly intricate basslines. The low-end on this record provides more than just a pulse, because it adds a layer of depth and heaviness that keeps the experimental passages from becoming too weightless. Whether it’s a deep, dub-influenced pulse or a more traditional lounge bassline, the instrument provides a crucial sense of clarity and detail. The percussive department is equally impressive. The album is filled with detailed electronic rhythmic patterns that move between steady, lounge-style grooves and more erratic, experimental beats. These rhythms are carefully arranged, offering well-accentuated breaks and fills that keep the listener engaged without ever becoming predictable. The drums and bass bind the more abstract electronic maneuvers together, ensuring the lounge and dub vibes have a solid, physical presence. One of the standout elements of Decalcomania is the inclusion of William Basinski’s saxophone playing. This adds a noir quality to the material, decorating the electronic soundscapes with a human, organic, melancholic,  and sophisticated touch. The production quality here is top-tier. Recorded in Torino, mixed in LA, and mastered by James Plotkin in New York, the album possesses a high-fidelity clarity that allows every sonic detail to shine. Despite the complex layers, nothing sounds cluttered. Each instrument has its place and purpose, making the material memorable and worth spinning over and over again.

Larsen has always been a band for those who love to wander off the beaten path, and Decalcomania is a perfect example of why they have remained relevant for over thirty years. It is an exceptional album that will definitely resonate with anyone in search of soulful, emotional, and powerful experimental music. It successfully bridges the gap between their historical post-punk/experimental roots and a new, more electronic and ambient future. This is a true masterpiece of the genre and a fitting tribute to the band’s historical lineup. Whether you are a longtime follower of their work with XXL and Michael Gira or a newcomer attracted by the Basinski connection, this record is a definitive highlight of the 2026 release calendar. It’s noisy when it needs to be, beautiful when it wants to be, and always, unmistakably, Larsen.