In the heart of London’s sprawling creative landscape, a new sonic identity is beginning to flicker into existence, one that feels less like a traditional music project and more like a gateway into a speculative future. Alessandro Inglima, an Italian composer who has long navigated the intersection of music and visual media, has finally taken a full dive into the deep end of instrumental electronic production with his latest endeavor, Komok. On February 6, 2026, he unveiled the project’s debut single, Quasi-Human[e], a track that acts as a mission statement for a career defined by textural risk taking and a refusal to be pinned down by the rigid boundaries of genre. It is a mid-tempo, groove-driven piece of art that invites the listener into a dark, futuristic atmosphere inspired by the vastness of space travel and the eerie allure of otherworldly environments.
Komok is the result of a creative path that began with the physical rumble of the bass guitar before evolving into an obsession with sound effects and synthesizers. Inglima’s history as a film and theater composer is palpable throughout this new work, as the music functions as a series of sonic locations rather than traditional verse-chorus structures. Drawing on the raw, uninhibited funk of early Daft Punk and the legendary experimental spirit of Aphex Twin, he has crafted a sound that feels both vintage and strikingly forward-thinking. There are echoes of vaporwave nostalgia and the pixelated charm of old video game music, but these elements are recontextualized through an analogue sensibility that gives the music a physical, breathing presence.
Quasi-Human[e] serves as the opening chapter of the forthcoming album Protopia, a twelve-track collection that promises to explore imagined worlds and speculative timelines. At a steady 115 BPM, the single sits comfortably in the grey area between acid house, big beat, and IDM. It is built upon a foundation of rolling basslines and gritty, textured drums that provide a hypnotic sense of motion. The track’s character is defined by warped analogue synths that seem to melt and reform in real time, creating an underground spirit designed for late-night listening and deep immersion rather than the frantic peak-time energy of a typical club floor.
The conceptual weight of Protopia is significant, as each track is intended to open a window onto a different world that feels simultaneously familiar and unknown. Inglima utilizes digital artefacts and analogue synthesizers to blur the lines between past and future, reality and fiction. This is not merely an audio release; it is conceived as a comprehensive audiovisual project. The album is accompanied by a sequence of short video artworks and microfilms that expand the narrative world of the music, creating a speculative space where nostalgia and futurism coexist in a delicate, shifting balance.
What makes Quasi-Human[e] particularly compelling is its ability to evoke a sense of travel through space and time without the need for a single spoken word. The instrumental nature of the project allows the listener to project their own narratives onto the soundscapes, turning the act of listening into a personal journey across unfamiliar terrains and untold timelines. It is a bold departure for Inglima, but one that feels entirely necessary given his background in composing for documentaries and live theater. The music carries the weight of a storyteller who has traded a script for a synthesizer, using frequency and rhythm to map out the geography of a distant future.
As we look toward the full release of Protopia later in 2026, it is clear that Komok is a project intended for those who appreciate the slower, more deliberate side of electronic music. It is a record built around the idea of travelling through sound, where the destination is less important than the atmospheric textures encountered along the way. By embracing the imperfections of digital artefacts and the warmth of analogue hardware, Alessandro Inglima has created a debut that feels grounded in the history of the genre while staring directly into the void of what comes next.
Quasi-Human[e] is a striking first step for Komok, offering a glimpse into a world where technology and human intuition are inextricably linked. The single captures the essence of a project that is as much about world-building as it is about music, providing a hypnotic soundtrack for anyone brave enough to explore the speculative spaces of the mind. It is a reminder that in the right hands, a rolling bassline and a warped synth can be as expressive as any cinematic dialogue, painting a vivid picture of a future that is just beginning to unfold.
