TRANCE: Periodico di musica e società 

Trance – Periodico di musica e società (Trance – Music and Society Magazine) was founded in Pisa as a supplement to Radio Ulisse and became one of the most significant publishing ventures of the city's underground scene during the second half of the 1980s. Emerging within the context of free radio broadcasting and post-punk culture, the magazine aimed to provide an independent space for information and critical discussion devoted to independent music, artistic experimentation, and alternative youth cultures. Between 1985 and 1987, four issues were published. They became part of the network of Italian fanzines of the period, distinguishing themselves through their graphic quality and editorial care. The project originated from the collaboration between Aldo Bassoni, the magazine’s editor-in-chief, and Luca Doni, Marzio Gracci, and Luca Gennai, who were active in the areas of Pisa, Pontedera, and Ponsacco during a particularly vibrant period for local music subcultures. At the time, Pisa was one of the most active centres of the Italian punk and hardcore scene. Around venues such as Victor Charlie and, later, Macchia Nera, as well as record stores and a network of musicians and enthusiasts, a highly receptive environment for both Italian and international independent productions had developed. The creation of Trance also responded to the need to fill a gap left by the mainstream music press, which largely focused on already established artists. The magazine therefore served as a platform for documenting and promoting post-punk, new wave, industrial, and hardcore bands, many of which were active only through cassette demos or independent record labels. Its goal was not merely to review records but to contribute to the construction of an alternative cultural network.

The title reflected this approach: Trance did not refer to issues of gender identity, but rather to the psychological state induced by music, particularly the hypnotic and ritualistic sounds associated with certain post-industrial productions. (Among its key references were bands such as Psychic TV and the creative universe of Genesis P-Orridge).

From its very first issue, the magazine also stood out for its technical production. Rather than relying on the traditional photocopied format, the editors chose offset printing and personally covered the costs involved. This decision resulted in a visual quality superior to that of most contemporary fanzines, bringing the publication closer to the standards of a professional magazine. The covers featured an additional spot colour, while the interior maintained a strong DIY spirit. Graphic design was one of the most innovative aspects of the project. Each article possessed its own visual identity, developed through typographic experimentation, collage techniques, and references to the visual arts. Layouts were created entirely by hand using transfer lettering, markers, and cut-out photographs. Before the advent of “desktop publishing”, every page retained visible traces of its creative process: imperfections, overlaps, and manual interventions became integral elements of the magazine’s aesthetic.

The artistic background of several members of the editorial staff played a crucial role in shaping this visual sensibility. Their interest in graphic design, painting, and design broadened the publication’s scope beyond a strictly punk imagination, transforming it into a space for reflection on developments in contemporary art and visual communication. Distribution also followed an independent model. Copies were personally delivered to major Italian cities and sold on consignment through specialist bookstores, record shops, and alternative cultural venues. Over time, an informal network of collaborators developed in Rome, Milan, and Turin, while some copies also reached the United Kingdom through the postal exchange circuits that characterized the pre-Internet fanzine scene. The magazine’s contents reflected the wide-ranging interests of its editors. Alongside music reviews and interviews, readers could find articles on theatre, design, visual arts, and emerging cultural trends. This multidisciplinary approach mirrored a scene in which musicians, graphic designers, artists, and performers frequently shared spaces, experiences, and creative trajectories.

The Trance experience unfolded during a period of profound transformation in youth culture. Alongside punk and post-punk emerged new sensibilities connected to club culture, house music, and the visual languages of fashion. Some members of the editorial collective subsequently pursued professional careers in graphic design for clubs and discotheques, witnessing first-hand the transition from a handcrafted aesthetic to increasingly professionalized forms of visual communication. Despite its brief publishing history, Trance now occupies a significant place within the history of Italian independent publishing. It stands as testimony to a period in which underground cultural production relied on informal networks, postal exchanges, and self-publishing practices that demanded technical skills, financial commitment, and strong personal motivation. Its story documents not only the alternative music scene of Pisa but also the broader transition from an analogue and handmade culture to the early digital experiments that would profoundly transform the production and circulation of cultural content in the years that followed.