Claudia Bonarelli’s biography continues to be obscured by mistruth and fiction. The moniker continues to be posited as that of a, feminine Italian activist who was simply arrested during presentations contrary to the G8 in Genoa for inciting visitors to riot; like a collective name to get a collaboration between several musicians through the Swedish Mitek label; so when the side task of the high-profile experimental digital designer from Canada. Consensus appears to be to claim that Bonarelli is in fact an alter ego for Johan Fotmeijer, a Malmo, Sweden-based designer. This secret biography acts to accentuate the politics character of Bonarelli’s (Fotmeijer’s) function – tracks through the 2002 debut recording included ‘Feminist’, ‘Gender’, ‘Manifesto’, and ‘Vaneigem’, the second option name-checking Raoul Veneigem, the Situationist counterpoised to Man Debord’s politics and polemical design. Bonarelli called his/her contribution towards the Mille Plateau Clicks And Slashes 3 compilation, ‘Disarm The Law enforcement’, while an EP released via the No Type label was entitled Might ’68, following the day of revolutionary politics protest in Paris (paths on the launch included ‘Customer Tradition’ and ‘Open public Transportation’). Drawing assessment with artists such as for example Pole, Package Clayton and music artists on the String Response label, Bonarelli’s deep and sultry, dub-heavy recordings juxtapose microscopic glitches and clicks with seems comparable to the thud of techno noticed through a solid wall. While it might seem peculiar to provide political ideas with a genre that eschews phrases/vocals there’s nevertheless something interesting taking place in Bonarelli’s deployment of both misconception and music, even when the exact character from the protest isn’t always clear. Bonarelli in addition has notably released music (as MP3s) via No Type and Komplott.