EUGENIO SQUARCIA

ENG | Energomash is a hexagon. This results in a musical concept that tries to overcome the boundaries of all kinds. A transversal composition. Energomash is a compendium of narrative energy. Energomash is music, poetry, inner journey, searching for a where. Where is "where" is the meaning of the journey. Understand. And then, become aware of the understanding of all things. Beginning and end. The here and the elsewhere. Energy. Energy that runs through the album moving in geometric shapes in the form of light and shadow, reflections of primordiality. Everything is connected. All is one. From an Adagio for a civilization that has become abstract, the north wind carries the one who walks and listen to voices, sounds, noises and singing, to the Lost Gardens of Heligan, near the majestic sandy mane of Dune du Pilhar, towards the poetic guesswork enclosed in an electric bottle thrown into the ocean in the direction of Roanoke, the first colony in the Americas western wilderness. Margaret Lee makes an explosive appearance in nine minutes that set the "Vaudeville instructions for a quiet life." Madness that drives creative minds. Breaking the silence. Meaning of life. A link. And because everything is connected, past, present, future, through multiple lifetimes, we land to the concept of Quantum Entanglement. Easy. Difficult. Who can say. Just listen. Participate in the trip. At the end of the street, the Hexagon is waiting. A house, maybe. God, maybe. Meditation. Maybe. Toward dawn. The last sunrise. Or, the first of a new world. Discover the visual project connected to the album. Watch MIN GRN for free on youtube at http://youtu.be/d82aMsJ4PGU MIN GRN - a visual project by Eugenio Squarcia. Direction / script / camera / editing: Eugenio Squarcia. Music composed and performed by Esma. Featuring Margaret Lee, Klod and Fred Cané. ITA | Energomash è un esagono. Da ciò deriva un concetto musicale che tenta di oltrepassare le barriere di ogni genere. Una composizione trasversale. Energomash è un compendio di energie narrative. Energomash è musica, poesia, viaggio interiore, ricerca di un dove. Dove sia "dove" è il fine del viaggio. Comprendere. E poi, divenire consapevoli della comprensione di ogni cosa. Dell'inizio e della fine. Del qui e dell'altrove. Dell'energia. Energia che attraversa l'album muovendosi in forme geometriche, in forma di luce e ombra, riflessi di primordialità. Tutto è collegato. Tutto è uno. Da un Adagio per una civiltà ormai astratta, il vento del nord trasporta colui che cammina e ascolta verso voci, suoni, rumori e canti, verso i Giardini Perduti di Heligan, verso la maestosa criniera sabbiosa della Dune du Pilhar, verso le congetture poetiche racchiuse in una bottiglia elettronica lanciata nell'oceano in direzione di Roanoke, la prima colonia occidentale nelle Americhe selvagge. Margaret Lee fa la sua esplosiva comparsa nei nove minuti che dettano le "istruzioni del Vaudeville per un quieto vivere". Follia, che muove le menti creative. Rompere il silenzio. Significato della vita. Un collegamento. E proprio perché tutto è collegato, passato presente futuro attraverso molteplici vite, si approda al concetto di Entanglement Quantistico. Facile. Difficile. Chi può dirlo. È sufficiente ascoltare. Partecipare al viaggio. In fondo alla via, l'Esagono è in attesa. Una casa, forse. Dio, forse. Meditazione. Forse. Verso l'alba. L'ultima alba. Oppure, la prima di un nuovo mondo. Scopri il progetto visivo collegato all'album. Guarda MIN GRN gratis su youtube all'indirizzo http://youtu.be/d82aMsJ4PGU MIN GRN - un progetto visivo di Eugenio Squarcia. Regia / soggetto / riprese / montaggio: Eugenio Squarcia. Musica composta ed eseguita da Esma. Con la partecipazione di Margaret Lee, Klod e Fred Cané. RockAction (Daniela Masella) - Review (ITA) http://www.rockaction.it/e107_plugins/content/content.php?content.1669 Lankelot (Andrea Consonni) - Review (ITA) http://www.lankelot.eu/musica/esma-energomash.html KULT Underground (Davide Riccio) - Interview (ITA) http://www.kultunderground.org/art/17694

Who is John Galt? Discover it in the upcoming Esma's concept album. "John Galt": 10 thrilling tracks of electronic / ambient / industrial / modern classical music. An involuntary soundtrack to the recent film "Atlas Shrugged: Part II", based on the famous novel by Ayn Rand.

“Come you lost Atoms to your Centre draw, And be the Eternal Mirror that you saw: Rays that have wander'd into Darkness wide Return and back into your Sun subside.” The idea of “The Lost Atoms” comes from these few lines which are found in “Il Verbo degli Uccelli (Mantiq at-tair )” a Persian poem written in 1177 by Farid ud-Din Attar. “The Lost Atoms” or “The Last Atoms”, a single letter can change everything and the title becomes ambiguous. Infact, the thirteen songs in this album are ambiguous: the last atoms, lost at the edge of existence, adrift from energy where everything loses its true dimension and remains naked without shape. A trip by yourself towards yourself, a perfect circle, looking for a road leading to the central atom, Xibalba. The door to somewheres else. A labyrinth. A pebbled road. Light and shadow chasing each other. Seasons. Sounds. Noise. First broken up and then in order. A string quartet, piano, synthesizer and others, many instruments. The titles of the songs suggest their nature. Amongst them there are fragments of some of William Butler Yeats' poems, of his rappor with the Earth. Then, the return. Like a storm in a bathtub. A glance through a window shows you importance, diversity, pure concept. The Imperfects. The Almost Adapted. We are them. The “Last Atoms”. Minds searching for the edge of quantistic reality. Nearing the Pneumatic Void, where everything stops. There matter becomes particular and static. Observation of a cosmic explosion, where all the elements are separated. Music doesn't mean only listening, but also transformation. The sound takes the mind towards other memories. The secret of this trip is in simplicity. It proceeds backwards. Intense. Full. Empty. Moments. And only the primordal silence remains. Official video of "Xibalba (the Central Atom)" http://www.youtube.com/watch?v=5X0px2aRyJU&feature=youtu.be SoundBlab - Review (ENG): http://soundblab.com/content/content/view/id/4562 Music By Day - Review (ENG): http://www.musicbyday.com/esma-the-lastlost-atoms-2012/2704/ PennyBlackMusic - Review (ENG): http://www.pennyblackmusic.co.uk/MagSitePages/Review.aspx?id=8371 Chain D.L.K. - Review (ENG): http://www.chaindlk.com/reviews/?id=6975 Music Zoom - Review (ITA): http://www.musiczoom.it/?p=5699 Lankelot - Review (ITA): http://www.lankelot.eu/musica/esma-lost-atoms.html The Rock Shows - Review (ITA): http://the-rock-shows.blogspot.com/2012/03/last-atoms-esma.html Music Zoom - Article by Ruggero Veronese (ITA): http://www.musiczoom.it/?p=6302 StoriaDellaMusica - Review (ITA): http://www.storiadellamusica.it/avant_post_rock/avantgarde/esma-the_lost_atoms%28la_cantina_appena_sotto_la_vita-2012%29.html RockAction - Review (ITA): http://www.rockaction.it/e107_plugins/content/content.php?content.1658 KULT Underground - Interview by Davide Riccio (ITA): http://www.kultunderground.org/art/17537

Beloved, gaze in thine own heart, The holy tree is growing there; From joy the holy branches start, And all the trembling flowers they bear. The changing colours of its fruit Have dowered the stars with merry light; The surety of its hidden root Has planted quiet in the night; The shaking of its leafy head Has given the waves their melody, And made my lips and music wed, Murmuring a wizard song for thee. There the Loves a circle go, The flaming circle of our days, Gyring, spiring to and fro In those great ignorant leafy ways; Remembering all that shaken hair And how the wingèd sandals dart, Thine eyes grow full of tender care: Beloved, gaze in thine own heart. – William Butler Yeats, from "The Two Trees".

"Ogni cosa cresce, come conviensi, a poco a poco, e crescendo conserva e rende eterna la propria specie. Or tu confessa adunque che della sua materia e del suo seme nasce, si nutre e divien grande il tutto. S'arroge a ciò, che non daría la terra il dovuto alimento ai lieti parti, se non cadesse a fecondarle il seno dal ciel l'umida pioggia, e senza cibo propagar non potrebber gli animali la propria specie e conservar la vita." Lucrezio - De Rerum Natura - Libro Primo Animal Farm (1945) is a satirical novella (which can also be understood as a modern fable or allegory) by George Orwell, ostensibly about a group of animals who oust the humans from the farm on which they live. They run the farm themselves, only to have it degenerate into a brutal tyranny of its own. The novel addresses not only the corruption of the revolution by its leaders but also how wickedness, indifference, ignorance, greed and myopia destroy any possibility of a Utopia. While this novel portrays corrupt leadership as the flaw in revolution (and not the act of revolution itself), it also shows how potential ignorance and indifference to problems within a revolution could allow horrors to happen if a smooth transition to a people's government is not achieved. In the Eastern Bloc both Animal Farm and later, also Nineteen Eighty-Four were on the list of forbidden books up until die Wende in 1989, and were only available via clandestine Samizdat networks. Source: Wikipedia.

Hyperborea. Concert for Piano and Electric Orchestra. In Greek mythology the Hyperboreans were a mythical people who lived far to the north of Thrace. The Greeks thought that Boreas, the North Wind, lived in Thrace, and that therefore Hyperborea was an unspecified region in the northern lands that lay beyond the north wind. Their land, called Hyperborea or Hyperboria — "beyond the Boreas" — was perfect, with the sun shining twenty-four hours a day, which - if true - suggests a possible location within the Arctic Circle. Never the Muse is absent from their ways: lyres clash and flutes cry and everywhere maiden choruses whirling. Neither disease nor bitter old age is mixed in their sacred blood; far from labor and battle they live. Pindar, Tenth Pythian Ode; translated by Richmond Lattimore. Reaching such exotic lands is never easy; Pindar cautioned: neither by ship nor on foot would you find the marvellous road to the assembly of the Hyperboreans.

Songs for the end of the world. A real or purely conceptual end. The end of a fable, of an adventure, of a journey. Here's an overview on human nature: a research on the loss, the abandonment, the general sense of the end. The closing of a parenthesis. Say goodbye to the old individual personality to embrace a new standardized identity, song of the great void, song of Nonlieux. Say goodbye to the old days, to the routine, to the old humanity, overcome by the new humanity, devoid of content, devoid of a true Nature. Pending the abyss, pending the fall, pending the end, precisely. Everything changes. Here's an album to listen fully, a world of sounds to live as a perceptive experience, a deeply pessimistic overview on the sense of impermanence. Certainly zen, with some hints of sci-fi Orwellian irony, a melancholic aftertaste of lengthened coffee, the shadow of a spell that goes away. There are no real instruments. Every sound you're about to hear is the result of live electronic synthesizers. Artificial. As the new post-human nature. We begin this last trip with the concept of consumption, that opens and closes the album. Two songs dedicated to the recent natural disaster in Japan, a due dedication. Tokyo, in the background. A trip through the electropunk distortions of a "Plastic Theology", a new synthetic beauty for new perfect humans. The sinking of the mind goes through other songs for the end of the world. "Positronium", the song of the antimatter, drone/ambient of a metropolitan underworld. "Mothertongue", unified language for a new globalized world. "Die Möglichkeit", the possibility, dark punk slightly hinted on harmonic waves in de-evolution. The ears and consciousness lands on "Unigender", final unification of sexuality, a world where there's no distinction between male and female, the last act of removal from the "old shape" before the inevitable conclusion. Remains to live only the last day on Earth. Before the change.

NEUEGG. Una parola che ne contiene altre, in diverse lingue. Nuovo. Uovo. Parole unite a formare un neologismo. Neuegg. L'uovo "nuovo" potrebbe rappresentare l'uomo "nuovo", il nuovo significato della vita nella sua sinfonia di alti e bassi. Come le onde sonore, a più riprese, lanciate verso il cuore. Nuove sonorità si creano mettendo in vibrazione le cose del mondo, facendo risuonare qualsiasi elemento circostante l'auditore. Così si trovano nuovi strumenti, non più registrati, ma vivi, incontrollabili, casuali. Questi strumenti vibrazionali, questi Risuonatori sono l'essenza dell'album. Sperimentare nuove frontiere dell'inframusica. Sperimentare un nuovo linguaggio, anche verbale: i titoli dei brani ne sono la riprova. Suoni. Che formano la parola NEUEGG. Lettere "N", "U", "E", "G".. quattro, come le basi azotate del DNA. Infinite combinazioni. Siamo nel campo della filosofia sonora. L'auditore è invitato a penetrare in un mondo "nuovo", dove poter riscoprire qualcosa di antico e allo stesso tempo sconosciuto. Metriche limbiche. Che inducono alla meditazione. Mediante l'ausilio di molteplici strumenti acustici (tra cui il piano, svariati flauti, il banjo, il violoncello) e digitali (sintetizzatori e sequencer) l'album si muove verso il brano conclusivo, realizzato mediante orchestra elettronica, che amplifica la ricerca e la corona. Esma. Nuova musica artificiale per orecchie sofisticate.

Eulogy of CMYK. Eulogy of the four-color process. Four colors. Essential. Fundamental. Cyan, magenta, yellow and black. A musical composition dedicated to the visible spectrum. Piano and synth chase each other in these four issues. As usual, the object of research is the essentiality, presenting every color associated with a character representative of an art form. Music, writing, painting and science. Four arts. Four colors. In addition to this little work you can find a special song composed in collaboration with Fred Cané.

B. A letter like so many others. Or maybe not. A letter with many meanings. First of all NON-A, that is B, which - precisely - is not A. Since B is the second coming, the second choice, second chance, second life, the second side of life. Like an old vinyl record, the B side, always secondary to something that - by definition - comes first. B: my picture. Self-portrait, in this case. What we see, beyond the horizon of music is to be discovered. A panorama of disillusioned and detached sounds, continuity of seemingly unrelated songs. Again, some fragments of a fairy tale re-emerge, whispered characters, ink spots that bleed on the surface of the future or never existed memory. The sense of what I believe is to believe in a way that is mine and mine only. Counterpoint. Notes of piano and orchestra flicker on the apotheosis of non-being. So the sparks of imagination quickly vanish in the repetitiveness of what we are obliged. Us. Our own social industry in the belly of an imperialist party that claims obedience and submission: bad sushi. They are small voltage fluctuations in the path between a neon tube and another neon tube. Lunchtime. Time for the meaning. In the alternation of synthesizers, a new light recalls our attention to observe the evidence of creation. This short album is an open question: there is, finally, a second road? The answer is always hidden in the harmonics.

Koinobori. A kite that flutters in the wind, in Japanese. A kite in the shape of Koi carp, traditionally mounted on a pole. Ukiyo-e, the floating world, the world of wind, nature, the world of fairy tales. Little Red Riding Hood who fled into the forest, Hansel and Gretel, The Wizard of Oz, and more. Reminiscences of early days, the inner senses that remain inside the core. Deeper and deeper .. and then, increasingly, we find the metropolis, modern society. Nueva Shanghai. Nonlieux, non-place in the French language. Inframusic. Sounds broken. Full and empty. Mu, the Eastern concept of emptiness, everything is hidden in a vacuum. The purity is around the corner, the light beyond the darkness. We are burning paper. Through the streets of the world are Eimyrja, the goddess of the ashes, ashes on London, embers and purifying fire, a flute in the distance announces the return to origin, liberation. TEMET NOSCE, know thyself. Socrates docet. Koinobori is a journey into the human world, the soul of the instruments: piano, hang, whistle, banjo, just to name a few.

A new series of free compositions. In the corner. Of the room, of life, of the heart or mind. But not only. There are so many other corners in our lives, corners that are hosting us in their narrow and refractory comfort, home to our sadness, our outlets, our illusions. The corner of a house, which is nothing, no exact street address but only a simple corner. Left to itself. The angle of my emotions. Deeper ones. That corner is not accessible for all, except for one person. To reach it we have to cross the mysticism of sound, the piano reflections of a synthesizer, the singing of a prayer, the truth hidden in the inframusic, a ringing phone, no one answer. At the end of the journey, you will pick my pieces. You'll collect my pieces to find the right form, the perfect geometry, the harmony that lies at the heart of me. Metatron. Relief of a deep orchestral string section, like a cloud, like fog or steam. What makes indistinguishable profiles, what blurs the appearance. Where is the message? Perhaps in the disturbing distortions of childhood, on which play the notes of a piano. Or maybe not. Probably between the lines, such as windows, you will see a landscape.

Noon: midday. Approx. A middle hour that marks the rest time of workers, in our common time. From the Latin 'nona hora', the ninth hour of the day. The pause after the action. To look away from our lives, our achievements, our creations. Nine: a magic number. Mystical knowledge. The great mystery. The end of the research. God. The one who comes after the rebirth, after the sacred elusive silence of the number eight. The first cause that has no other causes except itself. The Middle. Mid-day. Noon. Strangely enough, a palindrome word, which also sounds like no-on or off, without motion, without ignition, because afterall this is the meaning of rest. An eternal return. Therefore, where is God? Of course in the center. Centrum est in trigono centri. He is there, between notes, well protected in the interstice between two mathematical harmonics. But you have to search him if you wanto to find him. So this is the recipe: give voice to the transformation of the instruments. Transfiguration. Nothing is what it seems. Inframusic. As infrasound. Something hidden between sounds. Something subtle. Vibration. Someone who speaks, behind the noise. Barely perceptible. Try it. Turn up the volume of your subwoofers, hush everything around you, prepare your ears. And listen. Noon will appear you as a concert for something that is missing, something of which remains only the mark, the shape, the absence. A vacuum in which the voice of the piano, of the accordion or of a violin is lost, and transmutes.