Nomadi - Nomads

Nomadi che cercano gli angoli della tranquillità Nelle nebbie del nord e nei tumulti delle civiltà Tra i chiari scuri e la monotonia Dei giorni che passano Camminatore che vai Cercando la pace al crepuscolo La troverai, la troverai Alla fine della strada Lungo il transito dell'apparente dualità La pioggia di settembre Risveglia i vuoti della mia stanza Ed i lamenti della solitudine Si prolungano Come uno straniero non sento legami di sentimento E me ne andrò Dalle città Nell'attesa del risveglio I viandanti vanno in cerca di ospitalità Nei villaggi assolati E nei bassifondi dell'immensità E si addormentano sopra i guanciali della terra Forestiero che cerchi la dimensione insondabile La troverai, fuori città Alla fine della strada Nomadi © 1985 Juri Camisasca "Nomadi" was written by Battiato's good friend and fellow spiritual seeker Juri Camisasca. In addition to being a songwriter, Camisasca was also a Benedictine monk, then lived as an eremite on the slopes of Mt. Etna. He participated as a singer and narrator in Battiato's opera Genesi. The song is a testimony to taking on an inner search with the goal of reaching an "unfathomable dimension" and a spiritual awakening.

Nomads who look for corners of tranquility in the Northern fogs and in the tumults of societies, between the lights, darks, and monotony of the days that pass. Walker who goes searching for peace at twilight, you’ll find it, you’ll find it at the end of the road. Along the transit of the seeming duality, the rain of September reawakens the emptinesses of my room, and complaints of solitude drag on. Like a foreigner I don’t feel ties of sentiment, and I will leave the city in the expectation of an awakening. The wayfarers go in search of hospitality in the sun-drenched villages and in the slums of the immensity, and they fall asleep on the earth’s pillows. Outsider who searches for the unfathomable dimension, you’ll find it, outside the city at the end of the road. English translation © 2020 Dennis Criteser Fisiognomica was released in 1988. After 1985's Mondi Lontanissimi, Battiato changed course once again and dedicated himself to working on an opera based on Genesis, a project he'd already begun in 1983. The opera was nearly all-consuming for the next two years and was finally mounted in 1987. Battiato then committed to writing another opera based on the myth of Gilgamesh. However, some non-classical songs were beginning to reappear in his writing, and he decided to produce another "pop" album (the word "pop" must always be in quotes when applied to Battiato), though one that unites pop, operatic, classical, and contemplative music. One that also places spirituality at the core, with lyrics and music that are serious, refined, intimate and more personally direct than Battiato was previously willing to be in his former years of word play, irony, hard-to-understand esoteric references, and fragmentism.

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