An album conceived as if it were played by a bodiless orchestra, where resonances, feedback, Tibetan bells, synths, and trumpet come together in an electroacoustic tone guided only by the intent with which it was created.
Existing in a timeless dimension
Recorded in a magical house in the woods, I hear a unique natural classical flavor of electronica, blending classicism with eclecticism, using a real piano, with some brass and woodwind instruments that are treated, embracing naturalism and illusionism. The cave is open and I might hear a wide variety of traditional western instruments, such as various types of horns, woodwinds, maybe a glockenspiel, cathedral organ, a breathing accordion, chimes, gongs, and various strings including guitars. My favorite sounds come from a funky old piano that is loaded with experience. My oldest friend is an upright 88, you know the kind, how they sound, all warm and friendly, with the unique quality of the sound that an older musical instrument makes, that distinct seasoned tone quality and color. The feeling is perfect, and there are exceptional moments of all kinds. At first, the ocean waves are crashing on the rocks, between the folds of time, where a warm old piano, mostly in perfect tune, takes us along into inner and outer space, to the desert for some vibrational medicine, and to spend some time looking after an alchemical furnace. From the notes I think what I am hearing is one musician with the wonders of multitracking and some excellent mixing. There is a tribal full orchestra vibe in a neoclassical mode, to my ears, and this music sounds like more than one musician. From the program notes, Edmondo Riccardo Annoni invites us all into:
“…A space beyond time, where, at the center of darkness, there’s a radiant light. Each time I accessed this space, a new track was born, over the span of several years. During this, a sense of gratitude filled me, a simple awareness of being alive. The Cave represents this space, a part of all of us. The Cave is also the heart, which I felt opening. Feeling this sensation take shape was like drawing seals attesting to the truth contained within. For this reason, La Grotta è Aperta is sacred music. It isn’t tied to any religious tradition but rather to the feeling of elevation that comes from playing and listening to it. La Grotta è Aperta resonates with the rhythm of breathing and heartbeat, existing in a timeless dimension. It’s an album conceived as if it were played by a bodiless orchestra, where resonances, feedback, Tibetan bells, synths, and trumpet come together in an electroacoustic tone guided only by the intent with which it was created. The Cave also symbolizes the unfathomable mystery where shadow, light, death, and life are one and the same, accessible in a single moment: now.”
Waves crashing on the shoreline ::
Let us begin with an alchemical motto, “Visita Interiora Terrae, Rectificando Invenies Occultum Lapidem; Visit the interior of the earth, and by rectifying, you will find the hidden stone.” La Grotta è Aperta resonates with the rhythm of breathing and heartbeat, existing in a timeless dimension. The Pearl and the Cave sets the stage, opening with waves crashing on the shoreline, along comes a friendly piano, soon joined by horns and a big old fashioned cathedral organ. Well, it could be. This is like an improvised soundtrack to an old time movie, strangely textured and somewhat at sea, or under the sea, “La perla e la grotta” (2:58).
In space the first matter brings an electronic organ which opens for the brass, a heroic upstanding even pace rolling and tumbling way up there feeling everything possible, “Nello spazio la prima materia” (4:08). Inventing or discovering or interpreting strange woodwinds approximately, the organ has feelings, with the brass there are deep vibrations and a buzzing bass. We proceed, to find our forever and the time is perfect right here right now, on even flowing steps 1-2-3, always repeats and never stops, and slowly grows more elaborate.
Arms and wings and scepters about ::
The Knight in the Desert brings a bold trumpet, and a drum, more horn spirits come to join in, as the knight rises to a spectacular height and from there waves arms and wings and scepters about, but I cannot actually see this, “Cavaliere nel deserto” (2:48). A growling low hum builds into an emotional ascension leading to a fullness of triumph, with drums, horns, and organs buzzing. I might hear something else in there too, these evolving recording arts have brought about a new form of alchemy.
Icaros are sacred songs to the different plant spirits and to all living beings. There are many different spirits and beings and each has its own unique purpose. “Icaros” (4:20) features imaginary keyboards, pumping electronic steam, and vibrational medicine passed down from nature to an ayahuasquero. Here the sound of old steamy cathedral organs flowing above us, high above. A place to look down into a middle space, the sound is low, grim, and a bit dark, to me this is the part that feels most religious in mood. Now a back and forth wordless chorus and verse, a horn in the mist, now some kind of new shimmery instrument, somehow this makes me think of a glockenspiel tinkling.
I see coiling organ notes in the dark ::
An athanor was once used in the process of changing “base metals” into “noble metals,” and is a type of furnace used by alchemists, able to maintain a steady heat for long periods. “Athanor” (2:48) brings the drums through here, the horn beast calls and this starts the march, proceeding at a happy pace, steady with new surprises, with jazzy smoky brass and chimes. I would hazard that the sound suggests a towerlike contrivance, ensuring a constant, durable temperature. The metal bells accent a tension with powerful machines or accelerators. “Opera Maggiore” (4:34) enters, so playfully engaging, a serpentine ride weaving and swaying, animating this catchy dark haunting melody. I am living it now, I see coiling organ notes in the dark, a bass woodwind follows and also coils in, everything transforms and dares to fall apart, everything comes together and resumes. Bravo!
Between the folds of time a subdued organ wells, it sounds like this takes place inside a cave with no end, those could be drone woodwinds in the distant subterranean woods. And now the brass takes form, I hear layers of drone tones with some reaching and rowing, “Tra le pieghe del tempo” (5:42). This is sort of spacey, nothing in a hurry, we are just floating. I dare say, a rare form of hybrid space-neoclassical music. I hear my old friend the piano, back now, and always playing nicely with the brass ghosts.
Edmondo Riccardo Annoni is a filmmaker, music composer, and Sound Healer. With a varied artistic path, he studied Cinema, Television, and New Media and later earned a diploma in Sound Healing in Milan. This is his first album under his own name after some releases under pseudonyms and work on soundtracks. His work is marked by a strong synesthetic approach, aiming to evoke intense perceptions and heightened states of consciousness. As a trumpet player, he developed a unique sensitivity to sound manipulation, which he applies in sound design and music composition, often using field recordings and electroacoustic instruments.
Throughout his career, he has collaborated on various web and TV productions as a videomaker and has worked on noteworthy cinematic and musical projects. Among his key works are the documentary Il Limite (2017), presented at several international festivals, and the soundtracks for documentaries and short films, including Veil, Il Richiamo del Vuoto, and In superficie. His music has also been featured in Netflix series and Rai productions. Annoni continues to explore new artistic forms to create works that deeply engage audiences. Those who purchase the album will have access to a link with video footage.
La grotta è aperta is available on ROHS!. [Bandcamp]
