Album Review: ARAKI: Fragments of Silk and Shadow| Javier Rodriguez

As Fondazione Bisazza celebrates Nobuyoshi Araki, one of the most internationally acclaimed photographers and contemporary artists, with the solo exhibit ARAKI, I’m taking the chance to dive deeper into Araki: Fragments of Silk and Shadow, the official soundtrack composed by award-winning Spanish producer Javier Rodriguez. This hidden gem came to life in order to accompany the art and provide an enhanced experience for the visitors as they reflect on the poignant topics of femininity, eros and death.

From the very first seconds of Ink and Desire, the listener is invited to engage with something utterly pneumatic - a primordial ceremony where spirits of ethereal beauty hold hands and float in circles to the mystical performance of Vivian Wan. The strings of the Japanese Koto -laconic yet pithy- act like the Midas touch into the humming, still ambience, turning every moment of their existence into pure gold. Ink and Desire is a testament to the value of minimalism and empty space as Javier Rodriguez’s restricted number of layers sound intentional, rich and more than enough to reinforce the spirituality of Araki’s world and storytelling.

The following The Last Flowers: Yūgen is an emotional chameleon for it carries such an extensive spectrum of feelings, maybe wider than it was originally intended to. The piano keys, intangible and weightless, are tapping the cool air’s molecules as if they were Yuki-onna’s ghastly fingers. Through the carefully chosen notes of this transforming, graceful melody we are shrouded in a milky fog of childhood memories, partings and reunions, tears of sadness and happiness, the full essence of what it means to be human. The track’s DNA is divinely made in order to embrace, embody and reflect the personal journey of every single listener. Unlike the metaphysical Ink and Desire, The Last Flowers: Yūgen sounds and feels heartwarming, earthly and autumnal.

Now, back to the dark side, we have the Obscured Bodies trio which follows the rules of the opening and bears the same ritualistic, otherworldly qualities. The mood is subtly set with the ambient parts 1 and 2 only to dramatize through its final piece with Wan’s intense, unsettling performance haunting and hypnotizing like a mythical Siren in Araki’s Odyssey. The closing Shōjo no Hikari stands as a rustic ballad filled with nostalgia for the lives we never lived and sounds like The Last Flower’s older brother in many ways. Here we find textures and rawness instead of controlled clarity, an approach that offers a sense of honesty and belonging for the visitor who truly seeks to be part of the creative journey, a witness to Araki’s sensuous universe.

To sup up, Araki: Fragments of Silk and Shadow not only represents cultural diversity and union -considering it's a mental assembly of Italy, Japan and Spain- but also manages to work both as an insightful assistant to the exhibition and a standalone musical entity. It's own microcosm makes for a safe, almost religious place to pause and contemplate - a much needed sanctum in a world that seems to forget the vital importance of inner peace. Before I go, I need to express how I find myself feeling honored and lucky every time I come across art that aligns with the qualities and soul of the Music Sanctum and Araki: Fragments of Silk and Shadow is definitely one of those cases. Until next time, take care!

Listen to ARAKI: Fragments of Silk & Shadow:

https://javierpekerodriguez.bandcamp.com/album/araki-fragments-of-silk-and-shadow-music-for-the-bisazza-foundation