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The Manifesto Of Futurism by Italian poet Filippo Marinetti, published in 1909, still has an intoxicating force. “We want to glorify war . . . to destroy museums, libraries, and academies of all kinds,” wrote Marinetti. “We shall sing to the great crowds excited by work, pleasure or rioting, the multicoloured, many-voiced tides of revolution in modern capitals.” Color was as important as force to the movement, and it was a search for new sound colors that fired the ambitions of artist and instrument builder Luigi Russolo, who, though quieter than Marinetti, is now seen as the “father of noise”. Russolo’s work and ideas anticipated the shape of music to come: the early percussion scores of Edgard Varèse and John Cage; electroacoustic music; recording; graphic scores — not to mention the inevitable sonic onslaught of effects and sound design in movies, TV, and computer games. In his 1913 manifesto, L’Arte Dei Rumori (“The Art Of Noises”), Russolo argued that the history of music, from primitive races through to 19th-century harmonic sophistication, was a progression that went naturally from ancient silence to modern noise: “The limited circle of pure sounds must be broken, and the infinite variety of ‘noise-sound’ conquered.” La Musica Futurista Nell’italia E Nel Mondo is a stunning anthology of true pioneers of electronic/noise music. Features works by Filippo Tommaso Marinetti, Antonio Russolo, Rodolfo De Angelis, Alexandr Mossolov Eiar Orchestra Victor De Sabata, Arthur Honegger, Dixon Cowell, Julius Ehrlich, Paul Whiteman, Walter Ruttmann, and George Antheil. Comes in a special “flap” deluxe gatefold sleeve, an Italian futurist newspaper replica.