OUT NOW :: XIII RUMORI SANTI :: GIUSEPPE CORDARO :: RIZOSFERA-NUKFM :: CAT. NUKFM016
AVAILABLE FROM THE 10TH OF JANUARY IN THREE DIFFERENT FORMATS:
- 20-PAGES COLOR BOOKLET + USB 2GB + TAPE C60 + DIGITAL STREAMING (CLICK HERE TO ORDER)
- 20-PAGES COLOR BOOKLET + USB 2GB + DIGITAL STREAMING (CLICK HERE TO ORDER)
- 20-PAGES COLOR BOOKLET + TAPE C60 + DIGITAL STREAMING (CLICK HERE TO ORDER)
Rizosfera’s NUKFM label releases “XIII rumori santi ”, the ninth album by Giuseppe Cordaro, a pioneer of electronic experimentation and acoustic research, modular synth analogue culture and spiritual ambient. Active since the end of the nineties with his acclaimed debut Sclerosis on the net label Zymogen (Filippo Aldovini’s project, art director of the NODE festival and product manager of FUSE), Giuseppe Cordaro stood out in the decade for some brilliant record releases on cult labels of the European and world ambient scene such as, for example, the Greek Sound in Silence (album “Origine” under the alias CON_CETTA), the English Fluid Audio, Kesh and Moteer (respectively 45°12ʹN 72°54ʹE, Annus Horribilis and Micro) to end with the American Time Released Sound (with the sound-novel “Orlando” as CON_CETTA VS MONOLOGUE).
The common thread of these publications lies in the extreme care of both the acoustic design, including droney sounds, modular, ambient and field recordings, and the graphic concept design of the works, with delightful hand-made objects that fit brilliantly between concept and emotion, the ecological dimension and the poetic grace of the worlds evoked. Just as the 2014 album “Orlando” owes its literary suggestion to Virginia Woolf’s work of the same title (published in 1928), so Giuseppe Cordaro’s debut work on Rizosfera-NUKFM, “XIII rumori santi”, owes its genesis to the lecture “The thirteen holy nights” given in Hanover on 26 December 1911 by the scientist and anthroposophy theorist Rudolf Steiner, a lecture subsequently collected in a book.
“Mighty indeed is the sound that can speak to us on Christmas Eve, if we are able to understand it” says Austrian esotericist Rudolf Steiner in “The Thirteen Holy Nights”, nights that take place every year from 24 December to 6 January. Based on an ancient Norwegian tale, Steiner theorizes that man should gather in deep meditation during this period. Each of the thirteen Steiner’s holy nights has an intrinsic meaning since each day corresponds to a past month (the first holy night condenses January, the second February and so on, until the twelfth for December). As Steiner writes, the thirteenth night is the Epiphany, 6 January, the day dedicated to the synthesis: what was hidden can now be manifested.
During the pandemic period from 24 December 2020 to 6 January 2021, Giuseppe Cordaro has therefore produced and combined each “holy night” to a “holy sound”, meditating and playing in a fertile spiritual depth of great vitality. From the thirteen spiritual meditations he has derived nine tones, an interlude and a ‘coda’, for a total of eleven tracks that investigate the inner consciousness and the most evocative dimension of sound. The album then winds its way through synth textures, mystical scores, large circular and reflective compositions of spontaneous beauty. What emerges is a musical picture that moves from Cordaro’s mystical point of view rather than the musician’s. After a pandemic and meditative isolation, the World that this work suggests is marked by a spiritual depiction that is clear and linear as well as dark and noisy.
The impression we get is a subjective experience not at the centre of the World but at its limits in a constant movement between two poles, and we perceive openness to the world in its original mode. Waving and affective. Heidegger and Steiner may be the esoteric and exoteric thinkers behind this dense and immersive work, in which World and Psyche swim together in a sea of feelings, passions and affections.
Giuseppe Cordaro has taken some meditative companions on his journey towards the ‘sacred’ noise: the photographer and video maker Giuseppe La Spada, whom he has been collaborating with for long. La Spada’s illustration of the work “XIII rumori santi” displays magnificent photographs of the deep open sea (man’s inner space) crossed by material elements (thoughts) and gaseous elements (emotions) that sink into the water, causing trails downwards (the trajectories of thoughts) and bubbles upwards (the escape lines of emotions). In this abyss of dense blue, the shape figure of a man is glimpsed as small as indeterminate, hidden by the abstract patterns of gaseous spheres or enveloped in the liquid bubbles of his own floating body.
Another essential companion of Giuseppe Cordaro is Marco Mattei, a young Italian philosopher, who comments in the booklet of “XIII rumori santi” on his own affective dimension of listening step by step with the acoustic progression of the work, suggesting to the readers an evocative interpretation of this profound sound meditation. Ratio and spirit confront each other throughout this satisfying spiritual exercise. And Mattei is the faithful seismographer of this encounter/clash.
Finally, the ‘acoustic’ companions of this sound-meditative enterprise. They are precious ones, able to increase the colouring of the emotional and spiritual fullness of “XIII rumori santi”. The first guest is the Anglo-South African performer Mira Calyx, audacious electronic interpreter at Warp. Hers is the electronic voice in Tone 06, a voice evoking a vortex of feverish tones that induce us to think of the inner space as a cyber-psychic spasm. The second guest is the American poet and composer Akira Rabelais, already at the court of David Sylvian, who in Tone 07 – perhaps the highest point of the entire album – with his electric guitar embroiders a hypnotic mantra that sails on a carpet of wind painting a celestial journey that rises towards an emotional tone of great spiritual majesty. The third guest is another American artist, the Chicago guitarist and photographer Michael Vallera, who with his guitar and drone music characterizes Tone 09 in which the solemn progression of the sound material proceeds in dark waves of emotional tones both distressing and liberating as wave foams that, motion after motion, break in a pure vital power.
All this takes place in a sumptuous twenty-page book format that gives space to Giuseppe La Spada’s visual photographic account and Marco Mattei’s commentary text, while the eleven tracks of “holy noises” are collected on a transparent crystal glass USB stick – USBs are typical objects in the hybrid productions of the Rizosfera collective. But this publication is also accompanied by a second version with a transparent C60 cassette, which in turn is placed in a transparent envelope, as if to underline that the imaginative space of the spiritual exercises is also resolved in the transparency of the materials and not only in the liquid depth of personal consciousness.