Lunason sounds are Anti-academic Sounds!    Emitted by the instruments designed by Domenico Melchiorre, they are the best contemporary transition towards the integral sound music of a Present that is already the Future.    Special metals, tooled, shaped, sculpted, shocked, tortured and, finally, chained to a “support” and chromed, become instruments capable of making sounds by vibrating; they become song, harmony, the phenomenon of sound perception; they convey a rhythm and space, and are pure sound spectrum. They are energy, direction and relationship between parts.    Lunason instruments are evolutions of ancient beaten holes, pounded instruments, percussion sticks, pipes, drums and scrapers. They are musical instruments with an original design; objects and tools that have changed their life and function. Over time, they have become instruments of sound. They are witnesses to its beauty and mastery, material that sings, living sound.    The Nicophone, Pyrablock, Kawaphone, Sixxen, Spica, Gaiabells and Bassdesmophone – and all other types of Lunason that will come – are “persons”. They are subjects of an action and a know-how.    They are “creators of the life of the sound”, animated and designed beings, composed of special alloys from essentially simple material, rendered precious by the work that has bent it, tormented it and torn it apart. They are unique creations, artfully made for musicians and listeners.    They are “marvellous objects” and the real human beings, who draw the sound worlds from the instruments, are their “appendages”. They are “objects of acoustic, physical, mathematical and musicological research”, universals of sound experience and symbols of an anthropology in which nature and culture mutually interpenetrate.    Lunason, instruments are therefore a “cultural asset”. As with any musical instrument, they are objects based on a relationship that musicians seek to establish between themselves and the sound material they directly manipulate in its physicality. They draw on various fields of human knowledge: archaeology, philosophy, physics and engineering, geography, iconology, paleo-anthropology, psychology, religion, sociology and history.    These “music-making” instruments are, above all, a subject-asset, the living product of Domenico Melchiorre, a refined artisan, maker and theorist. They are also an object-asset, “noble objects” to be preserved and analysed in specific studies and musical institutions.    Lunason instruments are signs of civilisation and a changing society. It has reached the furthest limit of a historical saturation fraught with contradictions and enclosed within the absolute dominion of technology. Lunason instruments are gold mines of information, also aesthetically, as those who know the appeal of an iconological and iconographic approach to organology are aware.    With these musical instruments, you can dwell on their presence in the listener’s poetic imagination, or underline the instrument’s cognitive and symbolic value when seen as an emblem of the mysterious correspondence between shape and sound.    They create openings for auditory perception, expanding it until the original richness of the sound world is rediscovered, an infinite, expanding universe of sounds which we could call the Ur-Ton-Welt. They have a specific character that emphasises the poetic trait potentially emanated by a musical instrument: the origin of musical language and the mystery of the creation of art.   Prof. Francesco Maria Paradiso, Milan 2020