Soundtrack di Envoi, prova il gioco a questo link: genialbuilder.itch.io/envoi
Logo fatto da: Gianluca Castiglione

Envoi

Tableau I(disc 1)

Tableau II(disc 2)

Prélude

Toi et Moi

Tableau III(disc 3)

Performed at Auditorium Parco della musica Ennio Morricone, Rome.

Abissus II is not just the absence of light but a dense, living, pulsating matter. It arises from the need to transform silence into an inner sound and sonic material into memory. The “roots” are reminiscences, echoes that reveal an irreducible will to live, hidden beneath layers of darkness and disintegration. It is a journey of emergence where the abyss constitutes a necessary origin, in which listening can become an act of discovery and, above all, resistance.


Pasquale Corrado
Conductor 
ENSEMBLE NOVECENTO

Filippo Bogdanovic
Violin I

Maria Serena Salvemini
Violin II

Maria Taglioni
Viola

Arianna Di Martino
Cello

Lorenzo Commisso
Flute

Eugenio Emanuele
Clarinet / Bass Clarinet

Michele Allevato
Bassoon

Simone Zanobi
Trumpet

Biagio Gino Grillo
Percussion

Andrea De Marchi
Percussion

William Belpassi
Piano

ABISSUS II (racines)

La traccia originariamente si chiamava "Se": ho ritenuto fosse migliore senza testo. Settima traccia dell'album "La quiete dopo la tempesta".

Paranoia Interlude

An extreme fight..

This music is thought as a soundtrack for a D&S session; it can be used by everyone since it's on CC licence: feel free to use it and let me know you opinion!

Devilish Struggle

For purchase or donation, please visit https://yesnowave.bandcamp.com/album/epitaph . Your support would help to further the development of Sandikala Ensemble and contemporary gamelan music.

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Epitaph is a continuation of an investigation into a compositional method in which the tempo progressively decelerates. This method is inspired by the concept of irama in Javanese gamelan, where as the tempo of a gending slows down, the spacing between the balungan (core melody) tones widens, while instruments like the gendèr, gambang, and peking become increasingly dense: there is a paradoxical sense of time.

In Javanese gamelan, this process is often likened to the image of a blossoming flower: a gending begins like a closed bud, and as the rhythmic level rises, as the ornamental density increases, the flower blooms. However, I am not interested in a blooming flower; I am interested in a flower that withers and wilts. This is why, in my works, including Epitaph, the tempo continuously slows down.

I have no desire to align myself with the glorification of tradition, but rather to further the critique of the adiluhung. Rather than glorification, this work pays attention to the wounds of history. In the middle section of the piece, there is an intervention of electronic sound resembling a broken radio: it is a collage of the voices of Wiji Thukul, Mahmoud Darwish, the Palestinian poet, and Frantz Fanon, the anti-colonial thinker and revolutionary from Martinique. Wiji Thukul sings his poem “Di Bawah Selimut Kedamaian Palsu,” Mahmoud Darwish reads a poem about his longing for the land of Palestine, and Frantz Fanon speaks on anti-racism and national liberation. But these voices appear obscurely, like traumatic memories arriving beyond the bounds of will.

These fragments are positioned between quotations from the traditional gending Laler Mengeng, a piece often associated with sorrow. Its presence, too, resembles trauma: a history that returns without control. The reference to Laler Mengeng also reframes the three voices mentioned earlier; the broken-radio-like sound is also reminiscent of a swarm of flies, hovering around a rotting memory of the past.

The piece concludes with a noise intervention, which stands in stark contrast to the rest of the composition. Poetically, noise plays the role of a Ratu Adil: a messianic figure who halts the unstoppable flow of History toward apocalypse. In an irrational world, the hope for redemption is the only rational response. But redemption can never clearly articulate itself—thus noise arrives. Noise is the future that refuses clear articulation.

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Instruments: gender barung, gender penerus, gambang, rebab, gong kemodhong, gong ageng, percussion, electronics

Produced by Dion Nataraja & Yustiawan Paradigma Umar
Composed and electronics by Dion Nataraja

Performed by:
Yustiawan Paradigma Umar, gender barung
Roni Driyastoto, gambang, gender penerus, rebab
Suseno Setyo Wibowo, kemodhong, gambang, gender barung
Mustika Garis Sejati, rebab, kemodhong, gender penerus
Muhammad Erdifadillah, percussion, kemodhong

Recorded in Sleman, D. I. Yogyakarta, 2025
Mixed and mastered by Luke Taylor
Recorded by Muhammad Khoirur Roziqin
Production crew: Muhammad Eko Sudarmanto

Illustration:
“Kerkhof in het park van Buitenzorg” by Raden Saleh
Edited by Wok The Rock
Sandikala Ensemble Logo and Cover layout by Wok The Rock


Epitaph (for gamelan sandikala)

20 anni e non sentirli. Amo definirmi un "cantautore fallito", se anche avessi qualche centinaio di migliaia di ascolti al mese continuerei a definirmi tale... fa parte di me. Non mi aspetto nulla dalle mie canzoni: pubblico perché tentare questa strada era il mio sogno nel cassetto da un po'; se poi a qualcuno piaceranno le mie opere, beh... punterò a fare ancora meglio! <3
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I'm a 20-year-old person. I love to define myself as a "failed songwriter", even if I had a few hundred thousand plays a month I would continue to define myself as such... it's part of me. I don't expect anything from my songs: I post them because trying this path was my dream for a while; then if someone likes my works, well... I'll aim to do even better! <3

Hi! I'm Niccolò: I make music in my room with a digital piano and Logic. I'm focusing mainly on OST for D&D sessions. Feel free to use them, they're all with free licence. Let me know how to improve and getting better. I'll be happy also in trying to help if you have some necessities or request for songs.
My influences are Yoko Shimomura, Nobuo Uematsu, Joe Hisaishi, Masayoshi Soken as well as the great Philip Glass.

I'm developing also playlists for D&D soundtracks: if you have suggestions or track to recommend, write me!

I also make alternative rock songs. The project witch I'm slowly developing is "Through Hell and Heaven", a tell witch analyze the more sore aspects of life as well as the birghtest, trying to find balance.
Here I am inspired mainly by Nick Cave and The Bad Seeds, Einsturzende Neubauten, Swans as well from songwriters as Tom Waits.

Composer. Based in Yogyakarta (Indonesia) and Berkeley (US). PhD student at UC Berkeley, California.

IG: @dionnataraja, @sandikalaensemble
Email: dion_nataraja@berkeley.edu

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