When Spirit Exit appears on stage, we will possibly see a galaxy, or the fabrication of a dream, or simply a peaceful sky with its clouds in metamorphosis. It will be an intangible setting for contemplation, made with the usual proficiency and magic of an MFO, the usual luminous craftsman of Ben Frost, Tim Hecker, or Grouper. Amidst light and shadows, and the powerful images of Ruben Spini, the figure of Caterina Barbieri also defies gravity, but the music of her modular synthesisers is a world of sumptuous complexity and strength: rhythm and repetition intertwine in a ritual of compositions that stir time and space, like a fuse connected to our conscience. Patterns of Consciousness – the celebrated double-album of 2017, pompously heard at Culturgest as the soundtrack to the play Virgin Suicides in 2020 — had left the promise of this moment, in which electronic music, magnanimous and geometric, would become emotional and human, touching pop as an original sin turned treasure.