One of the scariest film scores ever was the product of a gift placed under a Christmas tree. “My father bought me a pair of bongos for Christmas […]
The Incredibly Strange Electronic Music of Piero Umiliani
His pioneering work in the 1970s and ’80s pushed boundaries, creating unique, captivating tracks that continue to influence today’s electronic and ambient music.
Known for his catchy, whimsical tune “Mah Nà Mah Nà,” immortalized by The Muppet Show, Italian composer Piero Umiliani held a rare talent for bridging the playful with the profound. Though it’s easy to understand the allure of that melody’s lighthearted charm, Umiliani’s music reaches far deeper — into smoky jazz lounges, Italian cinema, surreal electronic realms, and, especially, the world of library music. As a pioneer in this genre, he created tracks intended as ready-made backdrops for film and TV, giving each piece a distinct mood while embracing a genre-fluid approach. His scores for films like Svezia, Inferno e Paradiso, La Ragazza Fuori Strada, and Il Corpo highlight his range, one fueled by curiosity and innovation. What genre was his specialty? All of them, basically.
Beyond film, Umiliani powered his library music’s eerie tones and hypnotic rhythms with synthesizers, creating music that continues to draw listeners into his strange, entrancing realms — especially when heard at full volume. Echoing the spirit of Umiliani’s exploratory synth work, contemporary artists like Daniel Lopatin (Oneohtrix Point Never), Kaitlyn Aurelia Smith, Julianna Barwick, Huerco S., and Alessandro Cortini channel a similar sense of atmospheric invention and cinematic depth. Which is to say, if you’re making a mix of new and old stuff, Umiliani’s work will fit right in.
Unfortunately and predictably, original vinyl copies of Piero Umiliani’s records are becoming increasingly rare, but thankfully, labels like Four Flies Records, Schema, and Dagored have reissued some of his most sought-after albums, bringing his distinctive sound back into circulation for new generations of listeners. Below, a few highlights, all of which are available on the major streaming platforms.
L’uomo elettronico (Cosmic Electronic Environments from an Italian Synth Music Maestro (1972-1983))
L’uomo Elettronico (Cosmic Electronic Environments from an Italian Synth Music Maestro) is a compilation that brings together a selection of Piero Umiliani’s electronic compositions from 1972 to 1983, released in 2021 by Four Flies Records. This wonderfully curated album presents Umiliani as a scientist of sound. Here’s the release note in full:
The idea behind the album is to view Umiliani’s electronic output as the work of a scientist of some sort – a chemist or master craftsman who created magic in his laboratory or workshop. There is a dreamy, ambient quality at work here: the Maestro builds hypnotic, minimalist sonic landscapes through layers of oscillators and sharp synths, including Moog, Arp, and VCS3. This music could fit equally well in a sci-fi documentary, a post-apocalyptic film, a television report on climate change, or a journey through outer space. L’Uomo Elettronico features 3 previously unreleased tracks, as well as rarities and hidden gems, all composed between 1972 and 1983 and remastered from the original analogue tapes.
Tra Scienza e Fantascienza
Originally released in 1976, Tra scienza e fantascienza captures Piero Umiliani’s restlessness, operating under his pseudonym Moggi. This album sees him blending jazz, electronic music, retro-futuristic grooves, and minimalism into a mesmerizing exploration of future-music. Each track feels like a step into an uncanny, cinematic world, as if meant for a sci-fi film that only fully reveals itself through immersion. True to its title — Between Science and Science Fiction — the album documents a uniquely Umilianian blend of elegance and sci-fi ambiance that feels as vibrant and relevant now as it did in the ‘70s.
Problemi D’Oggi
Umiliani’s Problemi D’Oggi (Problems of Today) is a defining piece of 1970s Italian library music, fusing jazz, funk, and electronic textures to reflect the era’s uncertainty. In the world of library music, often crafted as versatile backdrops for film and TV, Umiliani found the freedom to experiment, creating mood-driven tracks like “Dramma Nero” and “Ipnosi” that evoke the gritty, cigarette-hazed atmosphere of mid-century Italy.
What sets Problemi D’Oggi apart is its timelessly dystopian feel. Though intended for commercial use, the album is cinematic in its structure, inviting listeners to get lost in soundtrack for a world wrestling with existential questions. The track “Attività” on Problemi D’Oggi pulses with energy, driven by busy percussion and a steady, understated bassline. Reverb-laden synths and sibilant shakers and maracas add a noir atmosphere, creating a sense of lysergic mystery and hallucinatory suspense that feels both restless and tightly controlled.
Suspence Elettronica
Released in 1975, Suspence Elettronica showcases Umiliani’s skill in creating eerie, tension-filled immersions using a range of analog synthesizers, drum machines, and minimal percussion. His instrumentation includes the Moog, EMS VCS3, and the ARP Odyssey — key tools in building the unsettling electronic textures that define the album. The synths create pulsing basslines, oddball midrange notes, and rich, darkly layered harmonies.
Each track explores a different shade of tension, with the VCS3 adding dissonant, sci-fi tones and the Moog providing the deep, resonant bass. The result is an atmosphere reminiscent of psychological thrillers and noir cinema. Suspence Elettronica should be electronic music canon at this point. It’s that good. His mastery of electronic instrumentation creates a sound that feels both timeless and deeply rooted in the analog aesthetics of the 1970s.
‘Love In’ from Questo Sporco Mondo Meraviglioso
“Love In,” from Piero Umiliani’s 1971 work Questo Sporco Mondo Meraviglioso, doesn’t rely on electronics, but it’s a song you should know. Featuring drenched guitar lines, a smooth flute solo, and dreamy synths, the track’s groove, driven by a steady bassline and shimmering percussion, creates a cocktail-just-before-the-murder vibe. As it progresses, the rhythm becomes more unpredictable, with crazy, shifting patterns that add an unexpected edge, making it a standout piece in Umiliani’s catalog.
