Ms Miroslaw - Sa Scena Sarda - Trasponsonic

Organes De La Voix - Chants Funèbres pour AHYHU

MSMiroslaw, Trasponsonic 2018

Review of Daniele Mei, Translation of Daniela Schirru

Have you ever tried to clap your hands inside a Nuraghe? That sound remains there for a very long time, and which, for most cases, we are not accustomed. A Nuraghe is one of the best-soundproofed structures in the world, and it is an almost magical entity, since it was built about 4.000 years ago.

The other night, walking through a country festival, I had the chance to chat with a gentleman who had a little stand. He sold his book “La Terra degli Dei”. He is Giovanni Cannella, a joyful and extraordinary man, as you can hardly find nowadays.

While I was talking to him, looking through the book, I connected one of the photos in it with another one I saw in the promotional booklet from Chants Funebres pour AHYHW.

Immediately, we started talking about the fact that MS Miroslaw’s musical project has been recorded in one of these stone towers. Almost astounded he told me that the nuraghe is a conveyor of sounds and that, when he was a boy, playing a guitar in one of them, he was so engaged in the acoustic resonance to fall into trance. When he awoke, he found himself, to his amazement, dazed outside. By that moment, he decided to devote his life in the study of these mysterious ancient structures.

It is almost the same reason that pushed forward Mirko Santoru desiring to explore a sound inside a Nuraghe (not coincidentally written in the capital letter). Each of these emitted sounds is channeled into this powerful natural continuation of the human vocal apparatus, in this case aided by technological systems, such as looper and effector.

MSMiroslaw - Sa Scena Sarda - Retro Cover -- Trasponsonic


In Mirko’s opinion, all this goes far beyond simple art and research. It is like going almost towards a sacred aim to invoke the different vitalities that have crowded the earth over time. The contact between present and past, also made of blood, of erased cultures that, through these vestigial sounds, are strongly asking to be brought back to light. A game on the razor’s edge, because these energies can also turn against, hurting us psychophysically. We must pay attention and respect them.

Nuraghi, custodians of sound, have a structure that allows forcefully carrying the sound upwards, towards the sky. In fact, there is a theory explaining that rituals were seasoned within nuraghi, so this could also be a way to adjoining with goddess. In addition, this work is a real requiem to invoke the rebirth of a suffering earth.

For this study, the sites chosen are those in Borore, Duos Nuraghes and Santu Bainzu, and Nasprias caves always around Macomer, on the Marghine area. Each of them has their own sound peculiarities. These were used to reproduce the tenor’s vocal lines structure. In “contra”, “bassu” and “mesuoche” niche, “oche” in the central one. From here, you can realize that the only used instrument is the voice, which follows extemporary melodic lines suggested by Mirko’s feelings experienced in complete solitude, in the dark, inside the nuraghe.

Definitely difficult, not a record for entertainment, reviewed in all the most important music magazines, also European, for a project that has succeeded, with its previous work, the interest of the great Julian Cope, the druid. Something unidentifiable, defined too easily as Italian occult music, but that in Trasponsonic, a label to discover, prefer to define paleolithical psychedelic.

"Ragnarock starts here, motherfuckers!”

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