Good gracious, MoonJune Records has never been afraid not to provide easy listening muzak, but this epic and adventurous "improvopera" really pushes boundaries (jazz-yodeling and the occasional cacophonious turmoil included ;-) )! You have to concentrate on what you are listening, but then the "stellar cast", as they say, will reward you plenty.
Includes unlimited streaming of Hari Ketiga
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
ships out within 1 day
Purchasable with gift card
Streaming + Download
Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
16 bit files (WAV, FLAC, ALAC-M4A, MP3-320). If You wish 24 bit files, please e-mail: email@example.com
Purchasable with gift card
$10USD or more
Compact Disc (CD) + Digital Album
2CD set without jewel box and slipcase, including the original 28 pages booklet and the original inlay card and REAL CDs. 156 minutes of extraordinary impromptu music. The CD purchase includes automatic download of the album, 24bit HD files in any or all formats of your chocie; WAV, FGLAC, ALAC-M4A, MP3-320. LIMITED to 50 COPIES ONLY.
Includes unlimited streaming of Hari Ketiga
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
now to receive all the new
MoonJune Records releases,
including this album
and 206 back-catalog items,
delivered instantly to you via the Bandcamp app for iOS and Android.
You’ll also get access to
Hari Ketiga (The Third Day) - An Improvopera In Nine Acts
Music by DWIKI DHARMAWAN, BORIS SAVOLDELLI. MARKUS REUTER, ASAF SIRKIS.
Story and lyrics by Alessandro Ducoli (with the help from Luca Morzenti).
Concept by Leonardo Pavkovic.
BIODIVERSITY IS THE VARIETY AND VARIABILITY OF LIFE ON EARTH by Marcello Nardi
It was fifty years ago that Man first set foot on the moon. After stepping out of their spacecraft, astronauts Neil Armstrong and Buzz Aldrin bounced around in this strange gravity vacuum – gathering terrain samples, snapping photos, then planting a momentous flag, as they looked back into space at the place from which they came. Captured within their gaze, Earth appeared no more than thumb sized from so distant a perspective.
A few months earlier – during a manned expedition on Christmas Eve 1968, which orbited but did not land on the Moon – an astronaut took one of the most iconic photos of the last century. Dubbed “Earthrise,” the infamous picture profiled our planet, half-covered in darkness, the other half gloriously basking in the light cast by our distant sun.
This timeless captured image framed Earth as both a beautiful and fragile place. Perhaps it could be argued that the release of this photo marked the first time that we, as human beings, could properly reflect on ourselves in the universal context of our birthplace and habitation.
It could also be said that seeing the world from such a perspective had the net effect of raising our collective environmental/ecological conscience. One photo brought us to the realization of the habitat we all share, and our inherent duties to its preservation: in essence, the photo was a depiction of the ecological movement’s claims, and an impetus for positive action on our planet’s behalf.
Fast-forward to the present day: In May of 2017, a ship of mighty musical warriors joined forces for a meeting of kindred spirits. Departing from the La Casa Murada launchpad (adjacent to nearby Barcelona, Spain), they embarked on a freewheeling nomadic adventure across known and unknown borders of the musical universe – and beyond! In terms of direction, these sonic pioneers relied more on instincts than any cues from a map. The seeds were planted; an air of excitement was already cultivated, in anticipation of something new and supremely unique sprouting forth.
Their corporate voyage carried them through the labyrinths of alien-influenced, unpredictably imaginative musical terrain. Hari Ketiga is the logbook amassed during the exploration: an incredible array of nine tracks that weaves written scores together with full improvisation.
It is an aural document, showcasing four musicians in peak form and fully inspired, singing a glorious tale of our planet Earth to an infinitely vast universe. The logbook’s entries tell of encounters between traditional Indonesian music, ’70s progressive rock, Western classical, free-jazz, ambient soundscapes, fusion, and more, and with mysterious alien telepathic creatures of unknown origin.
Dwiki Dharmawan is a distinguished pianist, keyboardist, and composer, one whose name is deservedly becoming more and more popular, thanks in part to his capacity to conjure unique, multicultural musical amalgams.
As the Captain and presiding officer, Dwiki embarked on this journey with some highly-decorated shipmates: Israeli drummer based in the UK Asaf Sirkis, in charge of the rhythm control room (thanks to his almost telepathic sense of interplay); at the navigation panel, the German touch guitar meister Markus Reuter, with his finely nuanced soundscapes and monstrous guitar voicings at the helm; while pivotal articulations fell to the discretion of the Chief Communications Officer, Italian singer Boris Savoldelli, acting as translator of human and alien languages.
“There were no superior feelings or personal self, even though it’s my album,” said the Captain. “The music on this album is not just mine. We were feeling and musically respecting each other – myself, Boris, Markus and Asaf.”
The story starts when, during their musically dense and wildly innovative sound journey, they looked back at Earth. They watched the Earth rising and realized what had happened to our planet.
ACT II, PART 3 - TU, L’UOMO (YOU, THE MAN)
Irregular tumbling beats by DRUMS, PIANO, and TOUCH GUITAR improvising freely.
VOICE: Gaia, our mother / She’s a dream / And a nightmare too
She’s nothing to us / Gaia is another planet / Another planet.
The first hints of summer, on a sunny Mediterranean May day: a warm, inviting day like being given by the Mother Earth. A day like this was the perfect timing and setting for Dwiki Dharmawan to surrender to nature and music: dedicating himself to a fully improvised session in the buen retiro of La Casa Murada, an ancient stone house, far from any hint of mundanity. After two days spent recording what later became Dharmawan’s Rumah Batu album, the following day was fully dedicated to Hari Ketiga – which in Indonesian Bahasa language means “the Third Day.”
It was also a special day for MoonJune label mastermind and producer Leonardo Pavkovic, who celebrated his birthday during that May 17, 2017 session. Leonardo united the Indonesian piano maestro with three fellow MoonJune musicians in an unprecedented lineup. The only rules he gave them: no script allowed, and let the tape roll.
Recording almost four complete hours of unleashed music in fewer than seven total hours of studio time, the musicians explored many corners of the universe of improvisation, from delicate impromptu ballads to ’70s fusion-invigorated vamps; from raw and aggressive bursts of unbridled energy to pastoral plateaus of perennial beauty.
Leonardo Pavkovic, his friend Francisco Macias, and the recording engineer Jesus Rovira watched the spacemen rolling and tumbling from the control room. They testified to an incredible journey. One of the improvisations was over sixty minutes long, as Pavkovic noted in his report to Starfleet Command.
“I remember that after that improv piece, we were supposed to have a lunch break,” the report noted. “Musicians were getting hungry, but they forgot about time and space. They were on a journey, as well as myself, Francisco, and Jesus. Dwiki Dharmawan was on piano and I had a feeling he was about to end the section he was playing. Then I sent some messages to Dwiki through the window of the control room. I wanted the galvanized sonic warriors to continue. I don’t know if Dwiki heard me – rationally, irrationally, or subconsciously – but he continued! ... and his three companions accepted the invite for an extended musical journey! That was an amazing thing!”
ACT I, PART 1 - L’ERRORE (THE MISTAKE)
PIANO plays a progression. TOUCH GUITAR creates a barely perceptible, swelling soundscape.
DRUMS quietly fill the empty spaces.
VOICE: L’Anima / Principio e Spazio / Il grande errore / L’Errore
The Soul / Beginning and Space / The big mistake /The mistake
A delightful, entrancing progression on piano, counterpointed by subtle cymbal crashes and a breathing soundscape; if telepathy is still questioned on Earth, it is evidently not on this spaceship, destined to reveal alien love secrets and other great cosmic mysteries. The four spacemen seemed to follow a nonexistent script that defied every rule of improvisation. When a second voice comes in – this time singing lyrics in Italian – it becomes clearer how crazy this Hari Ketiga project is.
After celebrating his birthday gift of this outer-space, Leonardo Pavkovic came back to his hometown of New York City and commenced dissecting segments of the recorded material. While giving shape to the eventual album tracks, he found a previously undiscovered common thread throughout the music. He basically cracked a code, like a sort of novel Leonardo da Vinci.
As the next step in the music’s ever-evolving form, he sent the material back to one of the four spacemen. Boris Savoldelli was ready to take off on a new mission: adding new lyrics and vocals to the previously recorded tracks. “I had an intense three-day session, after Leonardo sent me the early mix,” says Savoldelli. “I switched the lights off in my room and wrote the additional melodies by re-creating the same feeling I had during the session at La Casa Murada. That’s where this second voice singing in Italian came from: creating the illusion that it was actually happening in the real-time improvisation.”
The four spacemen who previously defied space were now ready to defy the order of time as well.
“This album is linked with Bitches Brew in a twofold manner,” Savoldelli expounded. “Leonardo played a double role, acting as Teo Macero and Miles Davis at once! First, he rearranged tracks in a similar way to what Macero did during the Bitches Brew recording sessions. Second, he was able to create an impressive alchemy between the musicians, like classic Miles, attracting so many skilled musicians into his band.”
The level of cohesion within the Hari Ketiga lineup makes it hard to believe they’d never played together before. “Ethnically, culturally, and geographically, we are all from different parts of the world,” Leonardo explained. “But philosophically and intellectually, we felt like we were coming from the same place.”
This feeling was echoed by Dwiki Dharmawan: “Markus, Asaf, and Boris are not only musicians, but very special people. They are partners in transforming musical energy.”
Leonardo Pavkovic and Dwiki Dharmawan share a special collaboration that goes beyond the usual musician-producer relationship. Pavkovic is a visionary and passionate producer, one who has relentlessly strived for noncommercial and beyond-the-limits music projects that truly do explore new ground.
While talking with him, something is immediately obvious, something he’s very fond of. He’s putting ‘coaching’ at the fore: beyond just producing, Leonardo is always looking for means to further develop his musicians’ potential, pushing his artists to dig deep and produce musical magic beyond their own individual expectations.
This inner curiosity regarding what plateaus his musicians can scale next is almost as important as traveling for him. Being an unstoppable explorer of new worlds (as well as new talents), the past decade has led Pavkovic to discover the burgeoning Indonesian jazz-fusion scene, a journey that started with the late, great pianist Riza Arshad and his band simakDialog.
“Riza told me in 2007 that Indonesia had two great musicians that I must work with,” recounts Pavkovic. “One being guitarist Dewa Budjana, and the other, pianist Dwiki Dharmawan. At that time, Dwiki was a well-known name in Indonesian popular music, with his band Krakatau still going strong. Dwiki had been influenced by jazz-rock and progressive rock – musicians like Keith Emerson, Jan Hammer, Chick Corea – but also by jazz pianists Keith Jarrett and Ahmad Jamal. I was unaware of this side of him, but Riza told me he considered Dwiki a genius and that somebody ought to tell him to stop doing only the commercial stuff and play more unconventional and specially improvised music, a side of his musical persona for which he was not so well known.”
By chance, in 2012 Dharmawan was invited to play in New York, to take part in a musical celebration of Indonesian independence. Leonardo Pavkovic, together with his friend, MoonJune guitarist Beledo, sat in the audience. The pianist swiftly explored Indonesian traditional music, then, toward the end of the show, seamlessly moved to a fully improvised section. This proved to be a mind-blowing experience for those in attendance.
When Pavkovic and Dharmawan met again, Leonardo proposed they work together. The subsequent result, So Far So Close, was Dharmawan’s debut recording for MoonJune Records, released in 2015. Recorded at Jeff Lorber’s studio in Los Angeles, this record saw the pianist sitting mostly at keyboards, accompanied by a superlative core rhythm section of renowned bassist Jimmy Haslip and drummer Chad Wackerman.
In June 2016, the producer and pianist joined forces again, this time in London. Upon Pavkovic’s suggestion and direction, Dwiki recorded with a completely new lineup, chock-full of players with whom he had never played before. Poised to play and record with musicians he knew only by name, Dharmawan fully trusted Leonardo’s perspective and vision. This sense of inner faith contributed to the refined, balanced, and deeply innovative mood of the highly acclaimed Pasar Klewer album.
"That record (Pasar Klewer) was, at the time of its release, the most important album to date produced by MoonJune,” Pavkovic exclaimed.
Happy with the results (and massive critical praise that followed), they both sensed that, artistically, they were on the right path. The following year they embarked upon the next phase in Spain, at La Casa Murada, with a similar lineup featuring, once again, Asaf Sirkis on rhythmic duties, together with Israeli bassist Yaron Stavi, and showcasing the addition of the innovative French-Vietnamese guitar legend Nguyên Lê and the Catalan flamenco bass icon Carles Benavent.
Rumah Batu, released in 2018, once again illustrated a musician climbing the mountain of creativity and disclosing yet more of his previously untapped potential. Dwiki Dharmawan wanted to include even more improvisatory moments (compared to previous albums) and did that in grand fashion, during the over-twenty-minute joyful and sparkling title track.
Despite the interim between album releases, this session was recorded only two days prior to the Hari Ketiga spaceship launching! Moving to gradually increase his improvisational embrace, the Captain Commander was now poised to put his unique level of mastery on full display.
ACT I, PART 6 - IO, IL PIANETA AZZURRO (ME, THE BLUE PLANET)
PIANO plays a haunting chord progression.
“One moment, it’s as if he’s playing lounge music in the lobby of a hotel, or on a pop album; but another time, he plays something that sounds like Sun Ra,” says Asaf Sirkis, speaking in reference to the immense stylistic arsenal of Dwiki Dharmawan. “Another time, he sounds like he is playing Balkan music. I really like the way he transitions through each of those phases... very radical. It’s not time to think about boxes when you are playing with Dwiki Dharmawan.”
As a masterful commander, Dwiki Dharmawan confidently navigates his ship through uncharted waters, always on a path to the unknown, though sometimes unbeknownst to his colleagues. Despite such challenges, he is capable of mind-blowing changes that create “ah-ha!” moments in our listening experience – even if those virtuoso transitions might escort his colleagues a little way out of their comfort zones.
After a prolonged free, unstructured, noisy section – during the initial tracks of Act I – he blossoms like a flower, transcending into a haunting and reflective chord progression that might easily recall Keith Jarrett’s most iconic solo shows.
“If honing the emotional arc of a song requires a level of mastery from a musician, how hard is it to execute that during an improvisation? When you improvise you just ‘play in the moment;’ you never know what’s going to happen,” says Sirkis. “Somehow the situation and the combination of people just turn out to be this way. I don’t know how it came about... When I listened to Hari Ketiga, I said this was really crazy!”
Boris Savoldelli uses similar words to describe that feeling: “It was like being in a bubble... something I experienced just a few times in life, but I never felt that way before. From a musician’s standpoint, some sections are so impressive... so complex. There’s such a homogeneity of harmonic and rhythmic vision behind it that it’s barely possible to think it was fully improvised. Especially considering we played together for the very first time.”
ACT III, PART 1 - IO SONO IL VERBO (I AM THE VERB)
PIANO plays a major chord progression; DRUMS reinforce it with a soulful, medium-tempo rock feel.
VOICE: Io sono l’alieno, / Sono il solo messaggero. / E nello spazio cosmico, / Dove il suono è Solamente l’Anima / Sono l’Anima celeste / L’Orizzonte solo degli eventi
I am the alien, I am the only messenger. / And in outer space, / Where the only sound is the Soul. /I am the celestial Soul. / The lonely Event Horizon.
At the merger between live performance and post-production, there’s that moment when the spacemen looked back at Mother Earth: when they saw their ‘Earthrise.’
When Boris Savoldelli was asked by Pavkovic to add lyrics to the session tapes, he approached his friend, fellow Italian vocalist Alessandro Ducoli, to assist in writing a tale in Italian. Dwiki had previously expressed his intention to create a concept album about Earth and its environmental issues. Bearing that in mind, the lyrics wound up being a mix of multiple influences: David Bowie’s “Space Oddity,” mixed with a dash of early King Crimson, and even Latin poet Lucretius’ philosophical poem De Rerum Natura.
This wide-ranging mix of such divergent influences couldn’t have been more apt. Musically, it was a high-stakes gamble: something hazardous and daring – mixing no-rules improvisation with broadly conceptual, philosophy-based lyrics. Ducoli accepted the challenge, and the two created a tale based on three fictitious characters: the Man, Mother Earth, and the Event Horizon.
The scene introduced in Act I is a succinct crime story. There’s been a murder: The Man killed the Earth. As Savoldelli starts singing over Dharmawan’s piano, we are thrown into a metaphorical tale of our world menaced by climate change, a shortage of natural resources, weather disasters, and increasing fear for the impending consequences of our neglectful corporate behaviors. As our spacemen looked back, what they saw was a devastated Earth.
In our tale, the Man seems oblivious to the impact of his own deeds.
During Act I, Earth speaks as a theatrical actor, in the first person, through the music and the lyrics, telling of the heinous murder she has suffered. The Man – incapable of finding any solution – is the main character in Act II, while Act III is reserved for the Father: the Event Horizon. Like an unyielding judge, he stands in front of the Man, accusing him of his deeds, while preparing to judge him without mercy.
This fictional (yet tragically reality-based) tale has been inspired by the works of Lucretius, a poet who introduced Epicureanism and principles of physics in Ancient Rome. Ducoli takes this as a starting point: examining our relationship, as human beings, with nature.
"The idea came from what I personally call ‘Lucretius’s mistake,’” says Ducoli. “The poet describes nature from man’s point of view. Whether in favor of or against nature, we need to realize that plain observation implies an active participation in what we look at.”
After the allegorical murder of the Earth, it’s up to the Event Horizon to judge the Man: whether he was responsible, or not, for the killing. While Mother Earth still shows a maternal attitude toward his son in the tale, the Event Horizon shows himself as an inflexible judge. The Darwinian theory of evolution is indifferent as to whether Man and Earth would continue to exist in the perennial life of our universe.
As the tale progresses, the Event Horizon gets surprised by an unexpected element: He is made aware that the Man is equipped with a soul and ‘the ability to love’ – two elements that provide unexpected and never-ending fuel for energy. As the tale unwinds, those elements play a key role in the concept’s conclusion.
Through the passionate and theatrical interpretation of Boris Savoldelli, we bounce back and forth between the musical interpretation and the tale’s narrative development. “While interpreting this or that character,” says Savoldelli, "I shaped my voice in a different manner. For example, when delivering Event Horizon’s lyrics, I added a chorus effect which I tweaked with special parameters.”
Whether Savoldelli is layering a simple melody (which fits so delightfully well) over the amazing initial progression played by Dharmawan in Act I, or adding scratchy, spoken utterances to evoke the Man’s solitude, it’s not only difficult, but also perhaps reductive to distinguish what he created in the live setting versus the later overdubs. Indeed, his live performance anticipated what later became the concept. This creates the effect, via the overdubbed vocals, of him jamming with himself.
Savoldelli – who is often found alternating between wordless melodies, vocal sounds, and sparse lyrical phrases during the improvisation – has his own technique for using words during the live sessions, even when there’s no prewritten text. He developed, for his personal use, memorization and creativity-channeling techniques through the use of short Japanese haiku, a technique he applies in his improvised singing as well.
“At a specific moment during the performance at La Casa Murada,” he said, “I sang this ‘Planet Gaeia.’ How much was this made subconsciously? I don’t know where it came from, but it worked perfectly in that context. It created a link with the concept we later developed. That snippet of text – sorted out from the bag of ideas I bring with me when improvising – opened a world of opportunities in term of melodies, but also in term of ideas.”
Hari Ketiga resembles more a complex project – moving through a chain of phases and multiple inputs – than the plain live recording of a session as it was performed. From the initial four spacemen’s output, through Leonardo Pavkovic’s editing, moving to Alessandro Ducoli’s additional concept layer, and ending with Mark Wingfield’s key contribution at the mixing and mastering stages, this record traversed many ideas, contributions, and cultures before reaching the final form we now hear.
Diversity is something Dwiki Dharmawan, as well as Leonardo Pavkovic, highlights as a key element in this album’s creation. This sort of supreme musical biodiversity seems almost sourced from aliens, as though it does not belong to typical Earth inhabitants.
“I have just been an artisan, concerned about honing something someone else built before,” Alessandro Ducoli humbly assesses.
Like biodiversity on Earth, the diversity inherent in the music brought its own added value to this recording.
INTRODUCTION TO HARI KETIGA
by Alessandro Ducoli
Three characters: the Earth (Mother), the Man (Son) and the Event Horizon (Father). A murder and a judgment. Love (Energy) and Soul (Intelligence) are the main forces at play. Everything happens in the Universe (Environment).
The protagonists expose the respective version of events (their own version of the “Rerum Natura”).
The Earth claims to have been pure Love, using the Soul, in the Universe, exclusively to give life: a perfect balance between Energy and Intelligence. She adds that she never thought of survival as an end in itself, but simply to play the role of Mother. (“for all of living things through thee alone are evermore conceived” – Lucretius, De Rerum Natura; I,4). Now we find wounds in the Soul (Intelligence, but also Consciousness), deprived of Love (Energy, but also the absence of Energy), as a dead body returned to the infinite Nothing (Oblivion) of the Universe.
Man, the beloved Son of the Earth, does not want, or cannot, admit his guilt. It translates the murder of the Earth as a Natural Law (the one that in the theories of the chemist Antoine-Laurent De Lavoisier was translated into simple conservation of Mass: In nature, nothing is lost, nothing is created, everything is trasformed). However, her presumption appears forced, almost pathetic, to the point of being beyond credibility when it turns to the Mother accusing her to grant him the Soul – that Soul which, deviating the unit of measure of Love, produced uncontrollable, degenerate forces.
The Event Horizon, “Father” of all celestial forms, as well as judge of the entire Universe, is a passive witness to an assassination. The beloved Earth, Mother and Daughter, the only celestial body where Soul and Love were united in the creation of Beauty, is accused of having generated and protected a wrong child. Man, the presumptuous and ungrateful Son, is accused of having claimed the power to dispense life and death. The immediate decision of the Event Horizon is to swallow both of them into the void of its dark star, but something causes it to reconsider his intentions.
ACT I - THE EARTH
PART 1: L’ERRORE (THE MISTAKE) (0:00-4:23)
The Blue Planet, Mother of Man and the only celestial body in the known Universe where light is the engine of life, has returned to outer space. At the mercy of perpetual motion, he is able to communicate his pain only through the “voice” of his (chemical) elements, now free to return to the Universe. And so, in Space, where sound does not find matter in which to vibrate, it is the only consciousness of the Earth that describes its mood, its psyche, its last-new emotions. Now alone, but filled with sweetness, it seems to accept the events as a due passage. And so, the inevitable “mistake” of the creation of Man, his son and executioner, becomes the pass for true Freedom, the final one: Oblivion.
L’Anima, Principio e Spazio / The Soul, Beginning and Space
Il grande errore, l’Errore / The big mistake, the Error
Il grande vuoto, l’assenza di peso / The big void, weightlessness
E nell'Oblio, l'infinito Io / And in the Oblivion, the infinite I
Il suono è puro / The sound, is pure
Nell'unico grande Io, l'Anima / In the one great I, the Soul
Il mai creato, la pura Energia / The never created, the pure Energy
La Vibrazione, la Materia / The Vibration, the Matter
PART 2: LA MIA DOLCEZZA (THE KINDNESS OF A MOTHER) (4:23 – 7:11)
The consciousness of Being (the Soul) and of Love that moves things (Energy) has generated the Son and all other living creatures, and storms, and it’s an unequivocal proof of the absolute splendor of the Blue Planet, or fertile Earth (Quae Terras Frugiferentis – Lucretius, De Rerum Natura; I,3).
The awareness of what happened is accompanied by the infinite love of a Mother who accepts events as a natural consequence of proposing and arranging things according to the will of life itself (“Rerum Natura”). For this reason, it’s not a mistake to give the name “God” to all Earth’s children, precisely because they are created in his own image and likeness.
Madre pura, generosa e dolce / Pure Mother, generous and sweet
Verbo della mia creatura / Word of my creature
Acqua e cielo / Water and sky
La continua Evoluzione / The perpetual Evolution
Nel più grande degli imbrogli della vita / In the biggest life's scams
Le grandi ali, i temporali / The big wings, the storms
Nel succedersi continuo / In the continuous succession
Della nostra Creazione / Of our Creation
Come il vento / As the wind
Come il muoversi improvviso delle acque / As the sudden movement of the waters
Ogni cosa si propone / Everything is revealing
Ogni cosa si dispone / Everything is displaying
Ogni cosa porta il nome degli Dei / Everything bears the name of the Gods
PART 3: LA TUA INNOCENZA (THE NATURAL FATE) (7:11-10:18)
Everything went as it should. This is the exact conclusion. And no one is responsible for what happened, neither the Son nor the Mother of Aeneids (Aeneadum Genetrix – Lucretius De Rerum Natura; I,1).
Finirò / I'll go to an end
Nell'esatta conclusione / In the exact conclusion
Come il gioco della vita / Like the game of life
Sarò io la Madre Terra / I will be the Mother Earth
Il mio Amore / My Love
Grande Amore / My great Love
Ha trovato la tua fine / Has found your end
Come ogni cosa mai / Like everything else
Ogni cosa si trasforma / Everything is trasforming
Come ogni cosa ormai / Like everything now
Ogni cosa si consuma / Everything is wasting away
PART 4: ALMA VENUS (MY CHILD) (10:18-11:21)
And nothing else
I was waiting for you
The Event Horizon, a selfless witness to what happened, presents itself to its favorite daughter (Alma Venus – Lucretius, De Rerum Natura; I,2). Surprised, distracted, he simply reveals his own cynical role, as usual.
PART 5: TU, MIA BELLISSIMA FIGLIA (YOU, MY BEAUTIFUL DAUGHTER) (11:21-14:25)
PART 6: IO, IL PIANETA AZZURRO (ME, THE BLUE PLANET) (14:25 -16:12)
The Earth, Mother of the Titans (Gea), accepts her new condition and feels free to return to her primordial state: a Daughter (Rerum naturam sola – Lucretius, De Rerum Natura; I,21).
In a succession of sensations, feelings and thoughts, she lets herself go to a new condition: Oblivion.
Essere l'Amore / To being Love
Libero per sempre / Free … forever
Io vorrei provare ancora / Try again...
PART 7: ODE AGLI SCOMPARSI (THE VANISHINGS’ SUITE) (16:12– 27:09)
A) THE VANISHING KIND (16:12–17:30)
B) THE VANISHING LEGACY (17:30–18:10)
C) THE VANISHING ELEMENT (18:10–20:40)
D) THE VANISHING DAY (20:40– 22:01)
E) THE VANISHING WAY (22:01–25:20)
F) THE VANISHING DREAM (25:20–26:04)
G) THE VANISHING EGO (26:04–27:09)
PART 8: VULNERE AMORIS (LOVE HURTS, LOVE CARES) (27:09–28:22)
The Event Horizon resumes…
In questo immenso spazio / Into space
Osservo le forme pure / I observe pure shapes
I miei fratelli / My brothers
Le mie sorelle / My sisters
Noi / Us
ACT II – THE MAN
Man’s unsolvable presumption led him to madness. The killing of the Earth is now reality. Deying his fault, he continues his proud analysis according to his Ego.
PART 1: LA NATURA DELL’ANIMA (THE NATURE OF SOUL) (0:00– 1:55)
Man ignores the nature of the Soul: he was born.
PART 2: CORPORA RURSUM (THE PRIMAL SEED) (1:55– 4:16)
Nothing can be from nothing: everything needs a seed. (Lucretius, De Rerum Natura; I,205-207)
PART 3: TU, L’UOMO (YOU, THE MAN) (4:16– 5:41)
Gaia / She’s nothing to us
Our Mother / Gaia
She’s a dream Is another planet
And a nightmare, too Another planet
PART 4: LA FINE DELLE COSE (THE END OF THINGS) (5:41–10:47)
The Event Horizon acts as an ultimate element of truth. Man changes his point of view, realizing that he is truly at the center of the Universe, but in the most absolute cosmic void. The absence of sound and light starts to hurt him.
Nature ends everything, but it cannot destroy it completely. (Lucretius, De Rerum Natura; I,215-224)
PART 5: NON IO, NON TU (NOT ME, NOT YOU) (10:47–13:41)
Non io, no, non io / Not me, no, not me
Chi sono? / Who am I?
Sono … no / I’m, no
C’è nessuno in ascolto? / Is there anybody listening?
Solo tenebre / Just darkness
Io, non io / I, not me
Respiro / Breath
Io respiro / I breath
Il Vuoto / The Void
Il Suono / The Sound
Madre / Mother
Dove sei? / Where are you?
The Mighty Black
Its me, me
Do you copy
Do you copy
And you, you too
She was your planet
She was your mother
She was your mother
PART 6: L’INTRECCIO DELLE CONNESSIONI
(THE CONNECTIONS’ PLOT) (13:41–17:11)
The same Force who brings everything to death, keeps everything alive. (Lucretius, De Rerum Natura; I,238-240)
PART 7: L’IRREVERSIBILE ATTESA (THE IRREVERSIBLE WAIT) (17:11– 21:10)
In a last desperate attempt for salvation, Man tries to deny his guilt: he claims to be created by the Earth to be Creator. And Destroyer too. So, destroying Mother Earth is a way to “transform” something. A different form of Evolution. And the Man, like a spider feeding on his mother, cannot be considered a murderer, but only a victim of the laws of Nature (Incolumi Remanent Res Corpore – Lucretius, De Rerum Natura; I,246).
Unlike the Earth, Man considers the cosmic void as a phase of passage towards something greater (as for the Earth it’s a regression, a return to the beginning), a God.
Alba, il succedersi del giorno / Dawn, the pursuing of days
La tenebra, nella notte / Darkness, in the night
Gli occhi dormono / The eyes are sleeping
Luce, come sole caldo / Light, like hot sun
L'Uomo è la sua Vita / Man is his own Life
Ma tu, forse aspetterai / But you, maybe you’ll be waiting
Aspettami ancora, ora / Wait for me again, now
L'Anima si forma / The Soul forms
L'Anima transforma / The Soul transforms
Ogni pensiero / Every thought
Tutto / Everything
Ogni respiro resta dentro / Every breath stays inside
Nella forma / In the form
Dovrò aspettare / I’ll have to wait
L’Unico Verbo / The One Word
L'Uomo é il Verbo / The Man is the Word
L'Uomo / The Man
Come il Verbo / Like the Word
Tu / You
L'uomo, come il Verbo / The Man, like the Word
Tu / You
PART 8: LE PARTICELLE ELEMENTARI
(THE ELEMENTARY PARTICLES) (21:10– 25:11)
Perdono, perdono / Forgive me, forgive me
Sono… solo / I am lonely
Madre / Mother
PART 9: L’ESSERE VIVENTI (THE LIVING FORMS) (25:11–34:02)
Gaia, your mother
Is another planet
Nessuno che mi ascolta / No one is listening to me
Una voce sola / A single voice
Ho bisogno di qualcuno / I need someone
Ancora / Again
La condivisione / Sharing
Voglio essere l'Essere / I want to be the Being
Sono io, solo Io / It’s me, only I
Ego / Ego
Particella elementare / Elementary particle
L’atomo / The Atom
Il vento muove la sua voce / The wind moves his voice
L'anima si brucia / The Soul is burning
L’anima si forma / The Soul is forming
L'Uomo è solo / The Man is alone
Non esiste / Does not exist
L'orrore sono io / The horror, it’s me
Io sono l'Errore / I am the Error
Siamo ancora soli / We are still alone
Siamo soli / We are alone
Siamo / We are
I soli / Suns
Mistake and guilt now are clear. Everything turns into the terror of the Nothing (Oblivion, the cosmic space) and into prayer for mercy. Man asks to be led back to the Event Horizon and, like the Earth, to a Son.
ACT III – THE EVENT HORIZON
PART 1: IO SONO IL VERBO (I AM THE VERB) (0:00-4:31)
The Event Horizon can decide what is Matter and what is not: the Dark Star, the only cosmic entity that can decide light to grant and light to give. Unreachable, if not by his will, it is the equivalent of the rainbow origin: it moves if you try to reach it.
The Event Horizon reveals its nature as a point of no return. And so, what could be a metaphor for “God”, assumes its meaning. A “Father” God, who now stands in front of his favorite sons, both accused to be guilty of unforgivable presumption.
Io sono l'alieno / I am the alien
Sono il solo messaggero / I am the only messenger
E nello spazio cosmico / And in the cosmic space
Dove il suono è solamente l’Anima / Where the sound is only Soul
Sono l'Anima celeste / I am the heavenly Soul
L'Orizzonte solo degli event / The Event Horizon, the only one
La materia non esiste / The matter does not exist
Non esiste / Does not exist
Ogni luce che catturo è sempre mia / Every light I capture is mine
La struttura primordiale / The primordial structure
Forza gravitazionale / The gravitational force
La bellezza pura delle cose / The pure beautyness of things
L’equilibrio della luce / The balance of light
Sono io, sono solo il tuo Guardiano / I’m just your Guardian
E sono io la stella / And I’m the star
dove tutto non esiste / Where anything doesn’t exist
Sono io che ho scelto voi / It’s me who chose you
Voi, Fratelli come Figli / You, Brothers as Sons
L’Orizzonte solo degli eventi / The lonely Event Horizon
L’Orizzonte solo degli eventi / The lonely Event Horizon
PART 2: QUALE SEGRETO? (WHICH SECRET?) (4:31–7:57)
The secret of the Soul.
The Event Horizon claims to have granted the gift of creation to Earth and Man, without warn them that Soul and Love must remain inner, invisible. Because their forced revelation, especially with arrogance, can unleash uncontrollable forces.
Parlami del tempo / Tell me about time
Parlami del tempo, ora / Tell me about time, now
Sono io, lo stesso Dio / It’s me, the same God
Che concede il Verbo / Giving the Word
Per errore mio / Because of my mistake
Siete l’imagine / You are the image
La forma delle cose / The shape of things
Vi ho concesso l'Anima / I gave you the Soul
Ma non ho avuto il tempo / But I didn’t have the time
Di nasconderne / To hide
Il Segreto / The Secret
PART 3: LA NEGLIGENZA DI LUCREZIO (LUCREZIO’S NEGLIGENCE) (7:57–11:31)
It is the presumption that makes us use Energy and Intelligence according to a personal (selfish) unit of measure. Love produces Energy, whose control is necessary. But Man, distorting his unit of measure, destroyed Earth, intoxicated by his own delirium of Love, abusing his Intelligence despite of all and everything. Until the final explosion.
PART 4: NULLA SI CREA, NULLA SI DISTRUGGE
(NON CREATED, NON DESTROYED) (11:31–13:49)
Everything is under discussion. Again…
ACT IV – THE LONELINESS OF THE UNIVERSE
PART 1: SOLO (ALONE) (0:00– 3:30)
PART 2: LA DOLCEZZA DELL’OBLIO
(THE KINDNESS OF OBLIVION) (3:30–7:59)
PART 3: NON AVERE PAURA (DON’T BE AFRAID) (7:59–15:49)
Conscious of the assassination of the Earth, the Event Horizon talks to Man, subtly inviting him to introduce himself. In a winking, sarcastic manner, he compares himself to a “God”: «As you, I was a pupil, an astronaut, an executioner, a murderer».
We must right
We must… right
We are … done
We wait… we wait…
PART 4: SONO ANCORA QUI (I’M STILL HERE) (15:49–19:23)
Il sono l’allievo delle cose sconosciute / I am the disciple of unknown things
Sono l’astronauta degli spazi della mente / I am the astronaut of mind’s spaces
Io sono il carnefice di tutta questa luce / I am the executioner of light
Come l’assassino della terra dei mortali / As the killer of the land of mortals
Sono ancora qui, sono sempre qui / I’m still here, I’m always here
ACT V – YOU’LL NEVER BE ALONE
PART 1: ALONE. YOU ARE ALONE (0:00–6:52)
The Event Horizon, Lord of the Universe, sentences Man to Nothing, to complete solitude. He welcomes the Earth in his great embrace, leaving the Man at the mercy of Space (Oblivion), guilty of the murder of Beauty.
Madre / Mother
Strange forces, unknown energies.
As an Oracle of the Dark Star, the Event Horizon perceives a new sensation: he does not feel his solitude, but a different loneliness. The initial choice to sentence Man to Solitude seems to rebound on himself.
ACT VI – THE FACT IS DONE
PART 1: HARI KETIGA (THE THIRD DAY) (0:00–4:14)
PART 2: IL PADRE (THE FATHER) (4:14–10:27)
Evolution … Existence
Let me be
Come, come to me
I am your father
Can you feel me?
Talk, talk to me
Is Evolution …
I know you
I’m your father …
A dream … same place
And I … I
Soul … dream
L’Universo è mio, ora / Universe is mine, now
L’Universo è mio / Universe is mine
PART 3: IO TI VEDO (I SEE YOU) (10:27–11:35)
Come, let me be you
Let me be more
In every moment
I see you
ACT VII – THE PERPETUAL MOTION
Desperately begging for forgiveness, Man feels his infinite littleness. His madness has condemned every living form, every sister, every daughter, everything. The will to dominate everything shows itself for what it has always been: pathetic presumption. His condition now is pure horror: unable to communicate with anyone, he finds himself talking to himself, to review his Mistake.
PART 1: FIGLIO (CHILD) (0:00–4:53)
Madre mia / My mother
Madre mia, il figlio è caduto / Mother, the son fell
Perdonami, perdonami ancora / Forgive me, forgive me again
Madre / Mother
Ho perso la strada di casa / I lost my way home
La strada di casa è diversa / The way has changed
La strada diventa più scura / Growing darker
Diventa più scura / It’s growing darker
Ho freddo, madre / I feel cold, Mother
Ho freddo / I feel cold
Il buio è ovunque / Darkness is everywhere
Il freddo è ovunque / Coldness is everywhere
Madre, ho perso la strada di casa / Mother, I lost my way home
Il Figlio è caduto / The Son has fallen
Il buio è strada di casa / Darkness is way home
Madre, perdona tuo figlio / Mother, forgive your son
Ho visto il ragno fuggire / I saw the spider running away
Ho visto il serpente fuggire / I saw the snake running away
Ho visto ogni cosa fuggire / I’ve seen everything running away
Ho visto il fuoco salire / I saw the fire climbing
Le cime delle grandi montagne / The tops of the big mountains
E bruciare la roccia / Burning the rock
Bruciare ogni cosa / Burning everything
Madre … / Mother …
Perdonami / Forgive me
PART 2: GLI ORCHI (RUNNING SPIDERS) (4:53 –7:01)
PART 3: IL TEMPO (RUNNING MOMENTS) (7:01–12:55)
PART 4: LE CREATURE (RUNNING CREATURES) (12:55–18:00)
PART 5: I PIANETI (RUNNING PLANETS) (18:00–19:18)
ACT VIII - THE DEAL
The Event Horizon realizes his Mistake: bringing the meaning of Soul as Intelligence, and Love as Energy, discovering that is own greatness, when is measured, it depends on Man’s dimension.
Surrendering … you
What a great day
Searching … space
Searching … space
Full of love
Searching … space
Fears, tears, no more tears
Power of destiny
ACT IX - THE MEMORY OF THINGS
Universe has no history, no memory, and moves according to predefined dynamics. Soul is only history and memory, and moves according to irrational dynamics. And as it was useless for Man to reach out to the Universe, is useless for the Universe to reach out to Man.
PART 1: NEXUS MINUS (MASTER AND SERVANT) (0:00–3:34)
PART 2: LA STESSA BUGIA (THE SAME LIE) (3:34 –9:11)
The dreams are drifting away … again.
PART 3: ANIMA ATQUE ANIMUS (THE DYING SOUL) (9:11–10:45)
Quod si forte putas extrinsecus insunuatam
permanare anima nobis per membra solere,
tanto quique magis cum corpore fusa peribit.
(Lucretius, De Rerum Natura; III,698-700)
Man, now, is facing reality.
Vorrei rimediare all’errore commesso / I want to face the mistake I’ve made
E vorrei pensare che tutto sia puro / And I want to think that everything is pure
Come gli occhi di lei / Like her eyes
Lei… nella pioggia… nella pioggia… lei / She… in the rain… in the rain… her
Il sorriso che hai è luce / The smile you have is light
Unica certezza per godere di te / The only certainty to enjoy you
Amami, amami / Love me, give me love
Dammi ancora energia / Give me more energy
Dammi amore / Give me love
Ti prego / Please
Nell’Amore / In Love
L’Energia, nell’Amore / The Energy, in Love
L’Energia / The Energy
PART 4: A SOUL IS BORN (10:45–11:24)
The Event Horizon claims to be loved. While knowing that Love, with the end of the Earth, can no longer exist, he welcomes her spirit, and the spirit of her executioner, the Man, to preserve their memory and preserve the most precious and dangerous gift of Universe: Love.
Love … Love … what is Love
I want to be loved … loved … loved
Jeremias Pah - Voice & Sasando (track 6)
Endi Pah - Voice and Tambur (track 6)
Jonas Mooy with Inggu Ndolu Art Group- Voices, Sasando, Gong and Tambu (track 7)
Recorded live by 4 musicians in studio on May 17, 2017, by Jesus Rovira at La Casamurada studio, Banyeres del Penedés, Catalunya, Spain.
Boris Savoldelli’s Italian vocals and additional sound effects recorded on August 31, 2017, at the Insanology Studio, Solto Collina (BG), Italy.
Indonesian tribal music on track 6 was recorded on November 13, 2012, at Oebelo Puluti village, Central Kupang Regency, East Nusa Tenggara Timur, Indonesia.
Indonesian tribal music on track t was recorded on November 20, 2012, at Oebeo village, Rote Island, East Nusa Tenggara Timur, Indonesia.
Mixed and mastered by Mark Wingfield at Heron Island Studio, Cambridgeshire, England, August 2017 and April 2020
Paintings by Buno Zopetti. Photos by Leonardo Pavkovic.
Graphics by Aleksandar Popovic.
Special thanks to Bagus Wijaya Santosa, Iga Indrawati, Jesus & Eli Rovira, Mark Wingfield, Bruno Zoppetti, Alessandro Ducoli, Luca Morzenti, Alberto Mondinelli, Dennis Rea, Borislav Kresojevic, Aleksandar Popovic, John McGuire, Stondly Saga.
Thank you for being temporarily inconvenienced and producing this voluptuous collection. ;)
The beauty and magic that came out of the ugliness of 2020. Artists locked away and confined who were compelled to produce AMAZING WORK that we would have never. heard before. Jonathan Pryor
This is an excellent album from Markus Reuter, accompanied by Fabio Trentini on Fretless Bass and Asaf Sirkis on acoustic drums recorded live in the studio. The interplay among these musicians is amazing throughout and, for me, this is true "progressive" music, as it charts new territory and leaves behind well-trodden cliches. It's challenging music that rewards a mindful listen. Put it on and listen through the whole album without modern social media distractions and you will see what I mean. Jerry F