Enigmatica creatura notturna dedita ai retaggi di un sapere arcaico, Caverna delle Rose
rievoca in Tenebris Secundis il mito di figure semidivine, esseri d’origine sovrumana
il cui potere non è solo riconducibile ai rapporti privilegiati con gli dei, ma che vantano arti magiche ad essi proprie.
Una mini opera in quattro atti che prelude ad un album prossimo venturo che vede AimA Lichtblau e i suoi officianti adoperarsi al canto e ai vaticinii strumentali orditi nel cuore delle tenebre.
Aldo Chimenti
Caverna delle Rose
recalls in Tenebris Secundis the myth of semi-divine figures, beings of superhuman origin
whose power is not only attributable to privileged relationships with the gods
Enigmatic nocturnal creature dedicated to the legacies of archaic knowledge, Caverna delle Rose
recalls in Tenebris Secundis the myth of semi-divine figures, beings of superhuman origin
whose power is not only attributable to privileged relationships with the gods, but who boast magical arts specific to them.
A mini opera in four acts which is a prelude to a forthcoming album which sees AimA Lichtblau and her officiants performing singing and instrumental prophecies made in the heart of darkness.
Aldo Chimenti
Pour son nouvel album, Aima Lichtblau a décidé d’épurer son travail, que l’on avait déjà apprécié avec Les Jumeaux Discordants ou encore Caverne Delle Rose, pour se focaliser sur la voix et les polyphonies. Proches de prières et d’invocations, ces chants mystiques, dédiés aux esprits et aux éléments, n’en sont pas moins dénués de force et de puissance. Dès l’introductif “Invocation to the Muse”, un espace vaste et immersif est créé, soutenu par les nappes sonores synthétiques d’Evor Ameisie (Camerata Mediolanense, NG) et Diego Cinquegrana.
Accompagné d’un livre illustré et de traductions en anglais de ces textes italiens ou latins, ce Carmina In Spiritum s’apparente plus à une œuvre globale et témoigne d’un développement personnel, spirituel et technique. Car Aima sait moduler sa voix, se rapprocher des voies célestes, religieuses ou plus avant-gardistes. Il s’en dégage quelque chose relevant de l’absolu, du mystère primordial. La musique est entièrement au service de ces mélopées éthérées, construite à partir d’instruments acoustiques (violoncelle, harpe), de chants caverneux et de drones électroniques. “Aeternitatis Spiritui” ou “Carmen in Spiritum” (nouvelle version d’un titre qui figurait sur l’album de 2020, Music For Certain Rituals) soulignent la dimension hors du temps de ce travail.
ENGLISH
For her new album, Aima Lichtblau has decided to refine her work, which we had already appreciated with Les Jumeaux Discordants or Caverne Delle Rose, to focus on voice and polyphonies. Close to prayers and invocations, these mystical songs, dedicated to the spirits and the elements, are nonetheless devoid of force and power. From the introductory “Invocation to the Muse”, a vast and immersive space is created, supported by the synthetic sound layers of Evor Ameisie (Camerata Mediolanense, NG) and Diego Cinquegrana.
Accompanied by an illustrated book and English translations of these Italian or Latin texts, this Carmina In Spiritum is more like a global work and testifies to a personal, spiritual and technical development. Because Aima knows how to modulate her voice, to get closer to celestial, religious or more avant-garde ways. There emerges something of the absolute, of primordial mystery. The music is entirely at the service of these ethereal melodies, constructed from acoustic instruments (cello, harp), cavernous vocals and electronic drones. “Aeternitatis Spiritui” or “Carmen in Spiritum” (a new version of a title that appeared on the 2020 album, Music For Certain Rituals) underlines the timeless dimension of this work.
