Aglaia: Immortality (Digital)

Product Description immortality 1 Trascendence is blue 2 Immanence is yellow 3 Permeability is green 4 Now refraction 5 Direction 6 Between two trees 7 The grass in the water 8 Among the tallest leaves 9 Poetically 10 The earth and the candelabra 11 Cloud in prayer 12 Green and yellow 13 The canal and the dust 14 Ornithology Genres: Meditative, Sleep, Ambient, Electroacoustic Ambient RIYL: Alio Die, Nobuhiro Okahashi, Tim Hecker Aglaia is the musical project of Italian electro-acoustic sound sculptor Gino Fioravanti, begun around the turn of the century. His sixth Projekt release (and 82nd album in all) reveals 93 minutes of peaceful and hypnotic deep ambient meditations. Mixing processed acoustic instruments like the harp and zither with subtle electronics, Aglaia investigates the imperfections of memory as he weaves musical fragments into a textural, mysterious mandala. Immortality is divided into two parts. The first consists of three long tracks, and the second spans eleven shorter pieces. The first are immersions, or premonitions, that flow perceptibly. The others are fleeting impressions, intuitions, or traces of memories still unformed. Gino explains: Especially in the first three tracks, I continue to search for a sound without notes, increasingly made of rich vibrations. I try to construct pieces that contain lightness but have weight. I remain, feeling empty spaces, filled with dense emptiness. I think of a flower made of a thousand petals or infinite nuances, and in playing I try to pursue the touch of sound, the overlapping of waves that form breathing patterns. In this album, I tried to respect the search for “detail pursuing its own truth.” Technically, I managed to better expand the sound, making it more granular without, however, causing it to lose definition. The vibrations interact with backgrounds, which I have distanced, to bring greater depth. When you play, or listen, you bring into play your ability to shape what you hear, your sensitive, imaginative, or regressive dimension. I read somewhere that “listening to music is an exercise in humanity.” I’d like to continue pursuing this wonderful definition. The shorter pieces are more of a synthesis of my repertoire from past years. They are sounds that, though older, still contain premonitions. They can remain in the service of some horizon that perhaps has been lost in the folds of time. This idea is an attempt to reproduce the imperfection of the contents of memory. I would like to hear the existential self making its way through time, in the unfolding of reality, creating and destroying internal patterns. A certain type of music manages to be heard without disturbing. It remains a foundation while remaining simple. A certain type of sound flows toward the future but remains decidedly primordial, a potential, a suggestion. A certain type of music flows without agitation, floating in a kind of immobility… of immortality. Sometimes a piece of music remains like a simple footprint, a witness to the passing of something or someone. There are blades of grass and great mountain ranges, there are oceans and puddles, together, in the uncreated constellation of our consciousness. Projekt release: November 14, 2025