I am very excited to present this album, as well as the enthusiasm of joining this label, calling Riteshindi.
In reality, “Animas-k” is partly a collection of old tracks extracted from several albums in my discography, slightly or heavily “modernized”, with the addition of 3 unreleased tracks.
In my life I have traveled and still travel a lot, except for 2020 when for major forces I decided to take a break, together with my backpack I never miss my camera and my equipment for Field-recording.
Capturing sounds, soundscapes, traditions, especially ceremonies of various contexts are a passion of mine, bringing home an “immortalized” moment through the recorder gives me immense joy, everyone has fun with photos and videos, but in my travels the prerogative is sounds and smells, the latter is part of my work.
Yes, by dint of traveling it has also become my job, I opened a company in Burkina Faso in 2007, then in Madagascar and Uganda, I export medicinal plants, spices, tea, but one of my great passions is aromatic materials for incense.
Fumigations and incenses in general have always been linked to ceremonies, rites, offers, these 2 aspects are linked to each other, singing, percussion, hypnotic sound, with the essences that emanate from the braziers create a mystical, deep atmosphere, collection. But the theme of this project is the soul that is expressed in the masks, for this reason the title brings with it a play on words that wants to represent with Anim the soul, but also the animal, the separate k is a third word that you want to distinguish, thus forming the word mask, the soul of an animal in a mask.
Often and in many cultures, the dances with masks are meant to represent a sort of “exorcism” an act of purification by expelling evil entities from the villages, a sort of carnival parade in which by making fun of the entities you remove them, since you identify with them with the image of the mask you are wearing.
The album is as if it wanted to unleash a propitiatory dance aimed at purifying and protecting us, crossing various cultures, from African, Amazonian and Asian ones, where in the last track we immerse ourselves in valleys of Buddhist monasteries, with very similar songs and sounds. to animistic contexts, therefore not religious but closer to shamanism, such as the ancient Buddhist branch called Bön.
Another peculiarity that masks have are that of letting you identify with the part, and therefore break down the most superficial self, conditioned by the environment (social rules), taking off and putting on the mask is a profound gesture, like taking off something of ourselves.
The individual tracks;
1 Earth Forged by the Sun
From the album Nouna (2008), a small citadel in the north-west of Burkina Faso, in the hottest periods where the whole surface of the ground becomes dry and burning, and the light reflects on the ground like a mirror, the stone seems truly modeled by the Sun. Here there are populations especially Dafin and Bwuamu who live in close contact with nature and support themselves with their resources, the background voices are people discussing about crops and how to best store for lean periods.
From the album Archetypes (2018)
The symbol of the Uroboro represents the cyclical nature of events, reactions, in short, existence itself and as they say in Africa, “everything is rhythm”.
3 Agartha (unpublished)
This track was created for the creation of a head and tail theme song for a video on a YouTube channel of a dear friend, entitled Il Tetano della Quinta Razza.
Agartha is a legendary kingdom that would be found inside the Earth, the long, deep, grotesque sounds want to represent the bowels of the Earth, where the sound cannot find a way out, continually bouncing off the walls of a hypothetical huge cave. The theme of the video is precisely the description of these mythologies of the hollow Earth.
is the 4th track of the homonymous album Altoplano (2009), inspired by my travels in Guatemala, where in the Huehuetenango region there is a plateau called Cuchumatanes, a landscape rich in contrast and where some Mam communities, descendants of the Maya, live.
5 Shuar Tales (unreleased)
Built on the song of a Shuar woman (Ecuador), an ancient people known for the cutting and mummification of heads, during the preparation of the Ayauascha ceremony, the voice of a man spitting is heard in the background, he is a Curander, and in reality it does not simply spit, but is a method of sprinkling liquor on the “patient” to cleanse his soul or energy sphere.
From the Album Waiting for a Call From the Unknown (2012), a project built on an ancient Mayan legend, given that for them the calendar ended in 2012, and therefore the end of an era.
In Mathematics commutators are widely used in group theory, in ring theory, in Lie algebras, in quantum mechanics they are used to formulate the uncertainty principle. This last theory (the same observer modifies the observed particles), I find it very fascinating because similar to some philosophical theories including Taoism and Buddhism, they say that reality is built by our own psyche, so we modify reality, given which is subjective. I connect to the Mayan theory in the thought that so many people in 2012 hoped or feared in something, changing and transforming the reality around them. Who knows, maybe that’s how prophecies work?
7 Big Baobab
It is another track from the Nouna Album, in this case the track is drastically restructured and modified to enhance the rituality. In Africa, numerous animistic ceremonies take place around the Baobabs, including sacrifices, offers of fetishes, and fertility rites, around these great specimens of nature often dances and songs are animated.
The sound image represents me in a savannah walking slowly towards a village during one of these ceremonies and slowly leaving.
8 Demon Bön (unreleased)
The Bön is an ancient religion prior to Buddhism, it is quite similar to the lineage of today’s Buddhism of the Dalai Lama, with more rigorous and often bloody rules and rituals, they think that in the “astral realm” it is pervaded by divinities and demons, and it is almost certain that the accompanying music during the sutras and mantras of all Buddhist forms were born to drive out and put fear into negative entities, even simply on a symbolic level. For many it is considered a religion, the Bön was born in harsh territories between Iran and Afghanistan (at least so it is believed) with roots very similar to animism.