Poets and musicians tend to be restless souls. It must be a burden at times, but that innate inquietude can also be the very thing that fuels the creative engines and resistance to complacency. As both a poet and a musician, Leonardo Rosado not only knows this well, but has let it serve as the very impetus of his collaborative new album, In the Dead of Night When Everything Is Asleep. In response to a sense of getting locked into the idiosyncrasies of his own methods, he craved a new way of working and a creative partner who would help him break old patterns yet remain true to himself artistically, ultimately choosing cellist & multi-instrumentalist Aaron Martin as well as involving his own children. Unbounded by a specific theme, compositional structure, or even working track titles, they embarked on what Rosado called “a journey into nothingness”.
I just went and recorded everything I could think of with my kids: a trumpet, guitars, wooden, metallic, glass objects, rainstick, metalophone, just having fun, not caring about tempo, melody, or tuned instruments, just banging around…Having two hours of recordings I had to start sampling all the stuff and playing with it for awhile. After I started creating these nameless pieces I thought that it was a good time to ask Aaron if he wanted to do a collaboration that he accepted. The collaboration was quite straightforward. We decided that I would prepare the scenery for him to come and take over, and that’s what he did. He took over in the most beautiful way I can think of. – Leonardo Rosado
Guided by intuition and each other’s ideas, the pieces began to take shape, and as they did they eventually inspired Rosado the poet to write the verse each of line of which would become a song title.
I can still hear the humming of life
And everything still makes static sense
Even the bitterness of your departure
The syncopated beat of the heart
And the consciousness that all silence is violent
In the dead of night when everything is asleep
The sounds themselves are imbued with that special kind of stillness that only exists in a nocturnal setting, one that amplifies every breath, every tick of clock, every creaking door, every groaning floor board. As restless know all too well, this perception of stillness is in fact an illusion. A oneiric world of opaque shapes and restless sounds in perpetual motion is revealed, moving in the slow-turning rhythms of the night and forming a backdrop for Martin’s delicate ornamentation (cello, banjo, bowed cymbals, singing bowls, concertina, electric guitar, roll up piano, & voice ) and empyrean cello parts which tentatively seek and find their way to the most melancholic and affecting narratives, especially in the aching swells of the final coda.
The Fluid Audio physical release of ITDONWEIA, which almost immediately sold out, adopted an exotic theme and was accompanied by cut-out inserts from ‘A Historical Sketch Of Algeria’ (first edition – 1927) along with 10 over sized photo-chrome prints, vintage (early 1900’s) magic lantern glass slides with original hand written notes, and Arabic sandalwood scent. A digital edition is available through the Facture Bandcamp site and will likely become available directly from the artists at a later date.