Dome (2026) by Loris Cericola

𝘛𝘩𝘦 𝘪𝘮𝘢𝘨𝘦 𝘢𝘳𝘪𝘴𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘯𝘵𝘢𝘤𝘵 𝘸𝘪𝘵𝘩 𝘸𝘩𝘢𝘵 𝘧𝘢𝘭𝘭𝘴. 𝘍𝘳𝘢𝘨𝘮𝘦𝘯𝘵𝘴, 𝘴𝘱𝘭𝘪𝘯𝘵𝘦𝘳𝘴, 𝘴𝘮𝘢𝘭𝘭 𝘳𝘦𝘮𝘢𝘪𝘯𝘴: 𝘵𝘩𝘦𝘺 𝘢𝘳𝘦 𝘯𝘰 𝘭𝘰𝘯𝘨𝘦𝘳 𝘱𝘢𝘳𝘵𝘴 𝘰𝘧 𝘢 𝘸𝘩𝘰𝘭𝘦, 𝘣𝘶𝘵 𝘪𝘯𝘷𝘰𝘭𝘶𝘯𝘵𝘢𝘳𝘺 𝘴𝘪𝘨𝘯𝘴 𝘰𝘧 𝘤𝘰𝘭𝘭𝘢𝘱𝘴𝘦. 𝘛𝘩𝘦 𝘤𝘰𝘷𝘦𝘳 𝘥𝘰𝘦𝘴 𝘯𝘰𝘵 𝘳𝘦𝘱𝘳𝘦𝘴𝘦𝘯𝘵 𝘢𝘯 𝘰𝘣𝘫𝘦𝘤𝘵, 𝘣𝘶𝘵 𝘢𝘯 𝘢𝘣𝘴𝘦𝘯𝘤𝘦: 𝘵𝘩𝘦 𝘯𝘦𝘨𝘢𝘵𝘪𝘷𝘦 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘮 𝘵𝘩𝘢𝘵 𝘤𝘢𝘯 𝘯𝘰 𝘭𝘰𝘯𝘨𝘦𝘳 𝘩𝘰𝘭𝘥 𝘶𝘱, 𝘵𝘢𝘯𝘨𝘪𝘣𝘭𝘦 𝘱𝘳𝘰𝘰𝘧 𝘵𝘩𝘢𝘵 𝘵𝘪𝘮𝘦 𝘩𝘢𝘴 𝘸𝘦𝘪𝘨𝘩𝘵, 𝘵𝘩𝘢𝘵 𝘮𝘢𝘵𝘵𝘦𝘳 𝘬𝘯𝘰𝘸𝘴 𝘪𝘵𝘴 𝘦𝘯𝘥 𝘣𝘦𝘧𝘰𝘳𝘦 𝘸𝘦 𝘥𝘰. 𝘛𝘩𝘦𝘴𝘦 𝘥𝘦𝘣𝘳𝘪𝘴 𝘥𝘰 𝘯𝘰𝘵 𝘵𝘦𝘭𝘭 𝘰𝘧 𝘴𝘱𝘦𝘤𝘵𝘢𝘤𝘶𝘭𝘢𝘳 𝘳𝘶𝘪𝘯, 𝘣𝘶𝘵 𝘰𝘧 𝘴𝘭𝘰𝘸, 𝘥𝘢𝘪𝘭𝘺 𝘥𝘦𝘤𝘢𝘺. 𝘛𝘩𝘦𝘺 𝘢𝘳𝘦 𝘢𝘯𝘰𝘯𝘺𝘮𝘰𝘶𝘴 𝘧𝘪𝘯𝘥𝘴 𝘵𝘩𝘢𝘵 𝘴𝘭𝘪𝘱 𝘥𝘰𝘸𝘯 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘦𝘥𝘨𝘦 𝘰𝘧 𝘢 𝘣𝘶𝘪𝘭𝘥𝘪𝘯𝘨 𝘭𝘪𝘬𝘦 𝘧𝘳𝘢𝘤𝘵𝘶𝘳𝘦𝘴 𝘪𝘯 𝘤𝘦𝘳𝘵𝘢𝘪𝘯𝘵𝘪𝘦𝘴. 𝘌𝘢𝘤𝘩 𝘰𝘯𝘦 𝘤𝘢𝘳𝘳𝘪𝘦𝘴 𝘸𝘪𝘵𝘩 𝘪𝘵 𝘵𝘩𝘦 𝘮𝘦𝘮𝘰𝘳𝘺 𝘰𝘧 𝘵𝘩𝘦 𝘴𝘵𝘳𝘶𝘤𝘵𝘶𝘳𝘦 𝘧𝘳𝘰𝘮 𝘸𝘩𝘪𝘤𝘩 𝘪𝘵 𝘤𝘰𝘮𝘦𝘴, 𝘭𝘪𝘬𝘦 𝘢 𝘳𝘦𝘤𝘦𝘯𝘵 𝘧𝘰𝘴𝘴𝘪𝘭, 𝘢 𝘧𝘳𝘢𝘨𝘮𝘦𝘯𝘵 𝘰𝘧 𝘢 “𝘣𝘦𝘧𝘰𝘳𝘦” 𝘵𝘩𝘢𝘵 𝘯𝘰 𝘭𝘰𝘯𝘨𝘦𝘳 𝘦𝘹𝘪𝘴𝘵𝘴, 𝘸𝘩𝘢𝘵 𝘳𝘦𝘮𝘢𝘪𝘯𝘴 𝘢𝘧𝘵𝘦𝘳 𝘵𝘩𝘦 𝘤𝘰𝘭𝘭𝘢𝘱𝘴𝘦, 𝘸𝘩𝘢𝘵 𝘳𝘦𝘴𝘪𝘴𝘵𝘴 𝘸𝘩𝘪𝘭𝘦 𝘦𝘷𝘦𝘳𝘺𝘵𝘩𝘪𝘯𝘨 𝘦𝘭𝘴𝘦 𝘤𝘳𝘶𝘮𝘣𝘭𝘦𝘴.

“𝗗𝗼𝗺𝗲” 𝘪𝘴 𝘵𝘩𝘦 𝘴𝘵𝘳𝘶𝘤𝘵𝘶𝘳𝘦 𝘵𝘩𝘢𝘵 𝘴𝘩𝘰𝘶𝘭𝘥 𝘱𝘳𝘰𝘵𝘦𝘤𝘵, 𝘣𝘶𝘵 𝘸𝘩𝘪𝘤𝘩 𝘵𝘰𝘥𝘢𝘺 𝘴𝘩𝘰𝘸𝘴 𝘪𝘵𝘴 𝘤𝘳𝘢𝘤𝘬𝘴. 𝘐𝘵 𝘪𝘴 𝘢 𝘴𝘱𝘢𝘤𝘦 𝘰𝘧 𝘳𝘦𝘴𝘰𝘯𝘢𝘯𝘤𝘦 𝘪𝘯 𝘸𝘩𝘪𝘤𝘩 𝘥𝘦𝘣𝘳𝘪𝘴 𝘣𝘦𝘤𝘰𝘮𝘦𝘴 𝘢𝘯 𝘦𝘤𝘩𝘰 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘳𝘦𝘴𝘦𝘯𝘵, 𝘢 𝘤𝘭𝘶𝘦 𝘵𝘰 𝘰𝘶𝘳 𝘦𝘳𝘢 𝘵𝘩𝘢𝘵 𝘪𝘴 𝘪𝘯𝘦𝘷𝘪𝘵𝘢𝘣𝘭𝘺 𝘤𝘳𝘶𝘮𝘣𝘭𝘪𝘯𝘨, 𝘭𝘦𝘢𝘷𝘪𝘯𝘨 𝘰𝘯𝘭𝘺 𝘮𝘪𝘯𝘪𝘮𝘢𝘭 𝘵𝘳𝘢𝘤𝘦𝘴, 𝘢𝘭𝘮𝘰𝘴𝘵 𝘵𝘪𝘮𝘪𝘥, 𝘣𝘶𝘵 𝘪𝘮𝘱𝘰𝘴𝘴𝘪𝘣𝘭𝘦 𝘵𝘰 𝘪𝘨𝘯𝘰𝘳𝘦. 𝘐𝘵 𝘪𝘴 𝘯𝘰𝘵 𝘢 𝘵𝘢𝘭𝘦 𝘰𝘧 𝘥𝘦𝘴𝘵𝘳𝘶𝘤𝘵𝘪𝘰𝘯: 𝘪𝘵 𝘪𝘴 𝘢 𝘭𝘪𝘵𝘶𝘳𝘨𝘺 𝘰𝘧 𝘳𝘦𝘮𝘯𝘢𝘯𝘵𝘴, 𝘢 𝘸𝘢𝘺 𝘵𝘰 𝘭𝘪𝘴𝘵𝘦𝘯 𝘵𝘰 𝘸𝘩𝘢𝘵 𝘸𝘦 𝘯𝘰𝘳𝘮𝘢𝘭𝘭𝘺 𝘴𝘸𝘦𝘦𝘱 𝘢𝘸𝘢𝘺, 𝘢𝘯 𝘪𝘯𝘷𝘪𝘵𝘢𝘵𝘪𝘰𝘯 𝘵𝘰 𝘭𝘰𝘰𝘬 𝘢𝘵 𝘸𝘩𝘢𝘵 𝘧𝘢𝘭𝘭𝘴 𝘢𝘯𝘥 𝘧𝘦𝘦𝘭 𝘪𝘵𝘴 𝘸𝘦𝘪𝘨𝘩𝘵. 𝘞𝘪𝘵𝘩𝘪𝘯 𝘵𝘩𝘪𝘴 𝘨𝘦𝘴𝘵𝘶𝘳𝘦 𝘭𝘪𝘦𝘴 𝘵𝘩𝘦 𝘢𝘵𝘢𝘷𝘪𝘴𝘵𝘪𝘤 𝘢𝘸𝘢𝘳𝘦𝘯𝘦𝘴𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘵𝘳𝘢𝘯𝘴𝘪𝘦𝘯𝘤𝘦 𝘰𝘧 𝘭𝘪𝘧𝘦 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘶𝘯𝘤𝘦𝘳𝘵𝘢𝘪𝘯𝘵𝘺 𝘰𝘧 𝘵𝘩𝘦 𝘸𝘰𝘳𝘭𝘥 𝘸𝘦 𝘭𝘪𝘷𝘦 𝘪𝘯, 𝘪𝘯𝘴𝘪𝘥𝘦 𝘢𝘯𝘥 𝘰𝘶𝘵. 𝘐𝘵 𝘪𝘴 𝘢𝘯 𝘢𝘯𝘤𝘪𝘦𝘯𝘵 𝘬𝘯𝘰𝘸𝘭𝘦𝘥𝘨𝘦 𝘵𝘩𝘢𝘵 𝘩𝘶𝘮𝘢𝘯𝘴 𝘩𝘢𝘷𝘦 𝘤𝘩𝘦𝘳𝘪𝘴𝘩𝘦𝘥 𝘰𝘷𝘦𝘳 𝘵𝘩𝘦 𝘤𝘦𝘯𝘵𝘶𝘳𝘪𝘦𝘴, 𝘢𝘯 𝘪𝘯𝘵𝘶𝘪𝘵𝘪𝘰𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘦𝘱𝘩𝘦𝘮𝘦𝘳𝘢𝘭 𝘤𝘰𝘯𝘥𝘪𝘵𝘪𝘰𝘯 𝘰𝘧 𝘦𝘹𝘪𝘴𝘵𝘦𝘯𝘤𝘦, 𝘰𝘧 𝘷𝘢𝘯𝘪𝘵𝘺, 𝘰𝘧 𝘮𝘦𝘮𝘦𝘯𝘵𝘰 𝘮𝘰𝘳𝘪. 𝘕𝘰𝘵 𝘢 𝘮𝘰𝘳𝘢𝘭 𝘢𝘥𝘮𝘰𝘯𝘪𝘵𝘪𝘰𝘯, 𝘣𝘶𝘵 𝘢𝘯 𝘢𝘸𝘢𝘳𝘦𝘯𝘦𝘴𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘳𝘦𝘤𝘢𝘳𝘪𝘰𝘶𝘴 𝘴𝘵𝘢𝘵𝘦 𝘰𝘧 𝘰𝘶𝘳 𝘮𝘦𝘯𝘵𝘢𝘭 𝘵𝘳𝘦𝘯𝘤𝘩𝘦𝘴, 𝘰𝘶𝘳 𝘱𝘳𝘰𝘵𝘦𝘤𝘵𝘪𝘰𝘯𝘴, 𝘰𝘶𝘳 𝘱𝘳𝘰𝘫𝘦𝘤𝘵𝘪𝘰𝘯𝘴, 𝘰𝘶𝘳 𝘴𝘢𝘯𝘤𝘵𝘶𝘢𝘳𝘪𝘦𝘴. 𝘈𝘴 𝘪𝘯 𝘵𝘢𝘳𝘰𝘵 𝘤𝘢𝘳𝘥 𝘯𝘶𝘮𝘣𝘦𝘳 𝘟𝘐𝘐𝘐, “𝗗𝗼𝗺𝗲” 𝘵𝘦𝘭𝘭𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘦𝘭𝘶𝘴𝘪𝘷𝘦 𝘵𝘳𝘢𝘯𝘴𝘧𝘰𝘳𝘮𝘢𝘵𝘪𝘰𝘯 𝘰𝘧 𝘵𝘩𝘪𝘯𝘨𝘴, 𝘢𝘯 𝘢𝘭𝘤𝘩𝘦𝘮𝘺 𝘵𝘩𝘢𝘵 𝘣𝘭𝘦𝘯𝘥𝘴 𝘵𝘪𝘮𝘦 𝘸𝘪𝘵𝘩 𝘮𝘢𝘵𝘵𝘦𝘳, 𝘴𝘱𝘢𝘤𝘦 𝘸𝘪𝘵𝘩 𝘮𝘦𝘮𝘰𝘳𝘺.

𝘛𝘩𝘪𝘴 𝘢𝘭𝘤𝘩𝘦𝘮𝘺 𝘣𝘪𝘯𝘥𝘴 𝗟𝗼𝗿𝗶𝘀 𝗖𝗲𝗿𝗶𝗰𝗼𝗹𝗮'𝘴 𝘴𝘰𝘶𝘯𝘥𝘴 𝘵𝘰 𝗚𝗶𝗮𝗱𝗮 𝗗'𝗔𝗱𝗱𝗮𝘇𝗶𝗼'𝘴 𝘪𝘮𝘢𝘨𝘦𝘴 𝘪𝘯 𝘢 𝘶𝘯𝘪𝘰𝘯 𝘵𝘩𝘢𝘵 𝘴𝘦𝘦𝘴 𝘵𝘩𝘦𝘮 𝘪𝘯𝘷𝘦𝘴𝘵𝘪𝘨𝘢𝘵𝘪𝘯𝘨 𝘮𝘦𝘯𝘵𝘢𝘭 𝘢𝘳𝘤𝘩𝘪𝘵𝘦𝘤𝘵𝘶𝘳𝘦𝘴 𝘢𝘯𝘥 𝘵𝘩𝘦𝘪𝘳 𝘥𝘦𝘣𝘳𝘪𝘴, 𝘵𝘩𝘦 𝘪𝘯𝘦𝘷𝘪𝘵𝘢𝘣𝘭𝘦 𝘧𝘳𝘶𝘪𝘵𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘴𝘴𝘢𝘨𝘦 𝘰𝘧 𝘵𝘪𝘮𝘦. “𝗗𝗼𝗺𝗲” 𝘪𝘴 𝘵𝘩𝘦 𝘯𝘦𝘸 𝘴𝘪𝘯𝘨𝘭𝘦 𝘣𝘺 𝗟𝗼𝗿𝗶𝘀 𝗖𝗲𝗿𝗶𝗰𝗼𝗹𝗮, 𝘴𝘰𝘭𝘰 𝘮𝘶𝘴𝘪𝘤𝘪𝘢𝘯 𝘢𝘯𝘥 𝘧𝘰𝘳𝘮𝘦𝘳 𝘨𝘶𝘪𝘵𝘢𝘳𝘪𝘴𝘵 𝘸𝘪𝘵𝘩 𝗦𝗽𝗶𝗿𝗮𝗹𝗲 𝘢𝘯𝘥 𝗣𝗶𝗲𝗿𝗽𝗮𝗼𝗹𝗼 𝗖𝗮𝗽𝗼𝘃𝗶𝗹𝗹𝗮 𝗲 𝗶 𝗖𝗮𝘁𝘁𝗶𝘃𝗶 𝗠𝗮𝗲𝘀𝘁𝗿𝗶, 𝘵𝘸𝘰 𝘺𝘦𝘢𝘳𝘴 𝘢𝘧𝘵𝘦𝘳 𝘵𝘩𝘦 𝘳𝘦𝘭𝘦𝘢𝘴𝘦 𝘰𝘧 𝘩𝘪𝘴 𝘭𝘢𝘴𝘵 𝘢𝘭𝘣𝘶𝘮. 𝘜𝘯𝘭𝘪𝘬𝘦 𝘩𝘪𝘴 𝘱𝘳𝘦𝘷𝘪𝘰𝘶𝘴 𝘸𝘰𝘳𝘬𝘴 - 𝘪𝘯𝘴𝘱𝘪𝘳𝘦𝘥 𝘣𝘺 𝘵𝘢𝘱𝘦 𝘮𝘶𝘴𝘪𝘤 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘢𝘣𝘴𝘵𝘳𝘢𝘤𝘵𝘪𝘰𝘯 𝘰𝘧 𝘔𝘦𝘵𝘢𝘱𝘩𝘺𝘴𝘪𝘤𝘢𝘭 𝘎𝘳𝘢𝘧𝘧𝘪𝘵𝘪 (2022) 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘬𝘰𝘴𝘮𝘪𝘴𝘤𝘩𝘦 𝘮𝘪𝘯𝘪𝘮𝘢𝘭𝘪𝘴𝘮 𝘰𝘧 𝘔𝘦𝘮𝘰𝘳𝘺 𝘏𝘰𝘭𝘦 (2023)—𝘵𝘩𝘪𝘴 𝘪𝘴 𝘩𝘪𝘴 𝘧𝘪𝘳𝘴𝘵 𝘰𝘧𝘧𝘪𝘤𝘪𝘢𝘭 𝘸𝘰𝘳𝘬 𝘧𝘰𝘳 𝘦𝘭𝘦𝘤𝘵𝘳𝘪𝘤 𝘨𝘶𝘪𝘵𝘢𝘳, 𝘢𝘯 𝘪𝘯𝘴𝘵𝘳𝘶𝘮𝘦𝘯𝘵 𝘩𝘦 𝘢𝘣𝘢𝘯𝘥𝘰𝘯𝘦𝘥 𝘺𝘦𝘢𝘳𝘴 𝘢𝘨𝘰 𝘪𝘯 𝘧𝘢𝘷𝘰𝘶𝘳 𝘰𝘧 𝘮𝘢𝘨𝘯𝘦𝘵𝘪𝘤 𝘵𝘢𝘱𝘦𝘴 𝘢𝘯𝘥 𝘰𝘵𝘩𝘦𝘳 𝘦𝘭𝘦𝘤𝘵𝘳𝘰𝘯𝘪𝘤 𝘨𝘢𝘥𝘨𝘦𝘵𝘴.

𝘛𝘩𝘦 𝘵𝘳𝘢𝘤𝘬 𝘪𝘴 𝘤𝘩𝘢𝘳𝘢𝘤𝘵𝘦𝘳𝘪𝘴𝘦𝘥 𝘣𝘺 𝘵𝘩𝘦 𝘤𝘰𝘯𝘵𝘳𝘢𝘴𝘵 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘦 𝘴𝘢𝘮𝘱𝘭𝘦 𝘰𝘧 𝘢𝘯 𝘰𝘭𝘥 𝘷𝘪𝘯𝘺𝘭 𝘳𝘦𝘤𝘰𝘳𝘥 𝘰𝘧 𝘤𝘩𝘰𝘳𝘢𝘭 𝘴𝘰𝘯𝘨𝘴, 𝘵𝘢𝘬𝘦𝘯 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘧𝘰𝘭𝘬𝘭𝘰𝘳𝘦 𝘰𝘧 𝘢 𝘳𝘦𝘮𝘰𝘵𝘦 𝘷𝘪𝘭𝘭𝘢𝘨𝘦 𝘪𝘯 𝘚𝘪𝘣𝘦𝘳𝘪𝘢, 𝘢𝘯𝘥 𝘷𝘪𝘰𝘭𝘦𝘯𝘵 𝘣𝘶𝘳𝘴𝘵𝘴 𝘰𝘧 𝘥𝘪𝘴𝘵𝘰𝘳𝘵𝘦𝘥, 𝘢𝘱𝘰𝘤𝘢𝘭𝘺𝘱𝘵𝘪𝘤 𝘨𝘶𝘪𝘵𝘢𝘳𝘴, 𝘱𝘰𝘪𝘴𝘦𝘥 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘦 𝘮𝘦𝘵𝘢𝘭 𝘭𝘦𝘴𝘴𝘰𝘯𝘴 𝘰𝘧 𝗦𝘂𝗻𝗻 𝗢))) 𝘢𝘯𝘥 𝗘𝗮𝗿𝘁𝗵. 𝘛𝘩𝘶𝘴, 𝘢𝘵 𝘵𝘩𝘦 𝘱𝘰𝘪𝘯𝘵 𝘸𝘩𝘦𝘳𝘦 𝘴𝘰𝘶𝘯𝘥 𝘮𝘦𝘦𝘵𝘴 𝘥𝘦𝘣𝘳𝘪𝘴, “𝗗𝗼𝗺𝗲” 𝘤𝘰𝘯𝘴𝘵𝘳𝘶𝘤𝘵𝘴 𝘢 𝘵𝘩𝘳𝘦𝘴𝘩𝘰𝘭𝘥: 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘩𝘦𝘳𝘦 𝘸𝘩𝘢𝘵 𝘧𝘢𝘭𝘭𝘴 𝘥𝘰𝘦𝘴 𝘯𝘰𝘵 𝘥𝘪𝘴𝘢𝘱𝘱𝘦𝘢𝘳, 𝘣𝘶𝘵 𝘣𝘦𝘤𝘰𝘮𝘦𝘴 𝘢 𝘷𝘰𝘪𝘤𝘦.

Turin, 1995: Loris Cericola is the former guitarist and singer of Spirale and the guitarist of Pierpaolo Capovilla e i Cattivi Maestri, as well as a solo musician as himself and as Placenta Corporation. He's also a sound designer for commissions like movies and art exhibitions. With at least 20 albums released with different projects, he's active in the Italian underground scene since 2010.

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