I’ve recently made a return to ceremonial sound after a month-long venture into what I’d describe as “comfort genres” (for example, 90s eurotrash). One of my favorite Western artists that falls under that category is Roberto Musci, an Italian musician who makes incredible use of field recordings from the Eastern world.
The first song I ever heard of his, and perhaps my favorite song of all time, was “Claudia, Wilhelm R and Me” from his 2016 album “Tower of Silence.”
I’m not sure exactly how I came across it; I just remember being 13 and feeling like what I had just discovered was something profound. “Tower of Silence” has been tucked into my pocket since, and I tote it around like a lucky charm.
I’ve started to explore his older work more as of late, namely his first release called “The Loa of Music (The Complete Sessions).”
Released in 1983, it was a product of his travels about Africa, Asia, and the Middle East: “The Loa of Music” has field recordings of chants in different languages, instruments unfamiliar to mainstream Western music, and storytelling from across the globe.
Some of my favorite tracks from the album are the ones with Indian elements (sue me), including “Improbably Music,” “Katak Dance for H. Partch” and “Lazy Raga.”
They are delightful in their incorporation of the Hindustani sound, while still taking a contemporary, experimental stance on the endeavor.
“The Loa of Music” is a beautiful collection of songs to meditate to — move about to, breathe in rhythm with, sit outside to — and what better time for that than now.
love & disco (be well),
dirty chai <3
