Agnus Dei - Lamb of God

Agnus Dei Qui tollis peccata mundi Miserere dona eis requiem Agnus Dei Qui tollis peccata mundi Agnus Dei Miserere nobis Agnus Dei Qui tollis peccata mundi Miserere nobis Agnus Dei music © 1978 Franco Battiato Agnus dei is a title for Jesus found in the Gospel of John, and is a liturgical prayer used during Mass in the Roman Catholic Church. It has been used many choral pieces over the years.

Lamb of God Who takes away the sins of the world Have mercy, rest give unto them. Lamb of God Who takes away the sins of the world Lamb of God Have mercy on us Lamb of God Who takes away the sins of the world Have mercy on us English translation based on Google translation Juke Box was released in 1978, and the mostly instrumental music was originally composed for a film about Filippo Brunelleschi. "Abstract romanticism, dry, astringent violin drones, repeated descending piano notes and operatic vocals (provided by Alide Maria Salvetta and Juri Camisasca) with a distinct experimental and esoteric vibe. An insular and introverted place in music. ” – SoundOhm review.

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No U Turn

Per conoscere Me e le mie verità Io ho combattuto Fantasmi di angosce Con perdite di io Per distruggere Vecchie realtà Ho galleggiato Su mari di irrazionalità Ho dormito per non morire Buttando i miei miti di carta Su cieli di schizophrenia No U Turn © 1974 Franco Battiato The lyrics of this song refer to the psychological crisis Battiato experienced in the summer of 1973 when he moved to New York City to find a new musical direction from that of his first two albums.

To know myself and my truths I battled phantasms of anguish with losses of the “I.” To destroy old realities I floated on seas of irrationality. I slept to not die, throwing my paper myths onto skies of schizophrenia. English translation © 2020 Dennis Criteser “On his fourth album, Clic, Franco Battiato moves further out – into realms of pure and elemental approaches to sound – to create a seminal work that flows naturally from one musical form to the next. Every second ripples with orbital chords, kosmische textures and schizophrenic string quartets, yet somehow manages the same dramatic pacing and variety as his avant-rock albums Fetus and Pollution. Originally released in 1974 on Bla Bla, Clic features Battiato on VCS3 synthesizer and piano, along with trusted collaborators Gianni Mocchetti on guitar and Gianfranco D'Adda on percussion. While only "No U Turn" bears the maestro's voice, these seven tracks contain some of his boldest melodies, an underlying thread that runs through the choral arrangements and meditative compositions.” – Superior Viaduct review.

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Sulle corde di Aries - On the Strings of Aries

After the release of his first album, Fetus, Battiato performed regularly and continued to do so through the making of his second album, Pollution. Meanwhile his publicity firm was developing the image of Battiato as an iconoclastic avant-garde artist, a musician who remained distant from his public, confronting them with challenging material in the process of repudiating traditional Italian music tastes. Some concerts got out of control as audience members became rowdy and fights broke out. Battiato grew ever more uncomfortable with this public persona. He cared more about creating new music and felt the need to exit the path he was on. So he distanced himself from his collaborators/promoters and moved to New York City to “find himself.” Instead of experiencing creative renewal, he fell into a deep state of spiritual crisis and isolation. Ending his life seemed like the best solution. One night he surrendered to his despair, only to find himself in an exalted state of being that he’d only previously experienced in his reveries while exploring the new electronic sounds of his VCS3 synthesizer. He returned to Sicily and realized he needed to build into his daily life a routine of retreat and meditation. Battiato said, “During the recording of this album I discovered my road, my instinctive nature, in the primordial sense.”

Sequenze e frequenze - Sequences and Frequencies

La maestra in estate Ci dava ripetizioni Nel suo cortile Io stavo sempre seduto Sopra un muretto A guardare il mare Ogni tanto passava una nave Ogni tanto passava una nave E le sere d'inverno Restavo rinchiuso in casa Ad ammuffire Fuori il rumore dei tuoni Rimpiccioliva la mia candela Al mattino improvviso il sereno Mi portava un profumo di terra Sequenze e frequenze © 1973 Franco Battiato Battiato brings together two images of himself from his childhood, one in summer and one in winter. He has said that the message of this song is that each one of us needs to find our own solutions in ourselves, which is possible only through the purification of oneself.

The teacher in summer tutored us in her courtyard. I was always seated on top of a little wall, to watch the sea . . . every once in a while a ship passed, every once in a while a ship passed. And during the winter evenings I stayed locked inside in the house to moulder. Outside, the sound of the thunder, my candle reduced down. In the morning, suddenly the calm brought to me a scent of earth. English translation © 2020 Dennis Criteser “Franco Battiato is often heralded as Italy's answer to Brian Eno. . . (Battiato) turned pop music upside down in the early '70s with three classic LPs – Fetus, Pollution and Sulle Corde Di Aries – that formed a confluence of avant-folk sensibilities and analog electronics. . . 1973's Sulle Corde Di Aries is the third chapter in Battiato's foray into esoteric pop. While the artist would venture further out into avant-garde terrain on subsequent releases, his early records enjoy a lyrical and playful spirit – eschewing traditional, song-based composition in favor of kosmische voyages. On Sulle Corde Di Aries, Battiato guides the labyrinthine structural changes and majestic tones to evolve gradually over four electroacoustic suites. . . While Fetus and Pollution are often considered his masterpieces, Sulle Corde Di Aries remains a hidden gem in Battiato's catalogue. With more of a cohesive album-feel than the previous records, Sulle Corde Di Aries slows the pace to take in the sweeping scope of otherworldly sounds and soulful harmonies.” – Superior Viaduct review.

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Aria di rivoluzione - Air of Revolution

Quell'autista in Abissinia Guidava il camion Fino a tardi E a notte fonda Si riunivano A quel tempo in Europa C'era un'altra guerra E per canzoni Solo sirene d'allame Compagni, chi di noi non sarebbe contro la guerra? Però, lo splendore delle "stelle del mattino" (armi) di Müntzer sopra i contadini in rivolta, quando illuminavani i loro aguzzini di una luce sanguinosa... Però, la melodia del lanciafiamme di Stalin quando, a Natale, urlava nelle orecchie gelate dei soldati di Hitler: "Pace sulla Terra" Passa il tempo Sembra che non cambi niente Questa mia generazione Vuole nuovi valori E ho già sentito Aria di rivoluzione Ho già sentito Chi andrà alla fucilazione Però..... l'eleganza dei missili automatici nei cieli di Ho Chi Minh, quando i prodotti di ingegneria da Detroit davano loro l'incredibile bacio..... Però.....la bellezza della mitragliatrice sopra la spalla del guerrigliero boliviano, quando fornisce argomenti sorprendenti che i suoi oppressori finalmente capiscono.... La cosa migliore, però..... Poliziotti addestrati contro il popolo quando annegano nel flusso della massa rabbiosa, rigettata attraverso le valli stradali. Ma finalmente, finalmente prendere tra le loro mani non le armi, ma la mano salvatrice di coloro che cercano pace....... Aria di rivoluzione © 1973 Franco Battiato At the song's beginning, Battiato refers to his father who for a time was a truck driver in East Africa during the Fascist period of colonialism. Battiato's verses alternate with the two halves of a poem by German singer/songwriter Wolf Biermann ("Genossen, wer von uns wäre nicht gegen den krieg") that lays out the fascinations of the tools of war.

That driver in Abyssinia drove the lorry until late, and deep in the night they would gather. At that time in Europe there was another war, and for songs only emergency sirens. “Comrades, who among us would not be against the war? But . . . the splendor of the “morning stars” (arms) of Müntzer above the peasants in revolt, when they lit up their tormentors with a bloody light . . . But . . . the melody of Stalin’s flamethrowers when, at Christmas, it screamed in the frozen ears of Hitler’s soldiers: “Peace on Earth” . . . Time passes, it seems that nothing changes. This generation of mine wants new values and I have already felt the air of revolution, I have already sensed who will go into the shooting. But . . . the elegance of the guided missiles in the skies of Hi Chi Minh City, when the products of Detroit’s engineers gave them the incredible kiss . . . But . . . the beauty of the machine gun over the shoulder of the Bolivian guerrilla, when he supplies surprising arguments that his oppressors finally understand . . . The best thing, however . . . Policemen trained against the populace when they drown in the rush of the angry mob, rejected along the valley roadways. But finally, finally taking in their own hands not the arms, but the saving hand of those who search for peace . . . English translation © 2020 Dennis Criteser “Franco Battiato is often heralded as Italy's answer to Brian Eno. . . (Battiato) turned pop music upside down in the early '70s with three classic LPs – Fetus, Pollution and Sulle Corde Di Aries – that formed a confluence of avant-folk sensibilities and analog electronics. . . 1973's Sulle Corde Di Aries is the third chapter in Battiato's foray into esoteric pop. While the artist would venture further out into avant-garde terrain on subsequent releases, his early records enjoy a lyrical and playful spirit – eschewing traditional, song-based composition in favor of kosmische voyages. On Sulle Corde Di Aries, Battiato guides the labyrinthine structural changes and majestic tones to evolve gradually over four electroacoustic suites. . . While Fetus and Pollution are often considered his masterpieces, Sulle Corde Di Aries remains a hidden gem in Battiato's catalogue. With more of a cohesive album-feel than the previous records, Sulle Corde Di Aries slows the pace to take in the sweeping scope of otherworldly sounds and soulful harmonies.” – Superior Viaduct review.

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Da Oriente ad Occidente - From East to West

Riduci le stelle in polvere E non invecchierai Mi appare in sogno Venere Tu padre che ne sai? Lontano da queste tenebre Matura l'avvenire Il cielo è senza nuvole Padre fammi partire! La luce sul vulcano Mi indicherà l'uscita Al fuoco delle tenebre Scelgo una nuova vita Da oriente ad occidente © 1973 Franco Battiato

Reduce the stars to dust and you won't grow old - Venus appears to me in a dream. You, father, what do you know of it? Far from this darkness the future matures, the sky is without clouds. Father, let me depart! The light on the volcano will show me the way out. In the fire of the darkness I choose a new life. English translation © 2020 Dennis Criteser “Franco Battiato is often heralded as Italy's answer to Brian Eno. . . (Battiato) turned pop music upside down in the early '70s with three classic LPs – Fetus, Pollution and Sulle Corde Di Aries – that formed a confluence of avant-folk sensibilities and analog electronics. . . 1973's Sulle Corde Di Aries is the third chapter in Battiato's foray into esoteric pop. While the artist would venture further out into avant-garde terrain on subsequent releases, his early records enjoy a lyrical and playful spirit – eschewing traditional, song-based composition in favor of kosmische voyages. On Sulle Corde Di Aries, Battiato guides the labyrinthine structural changes and majestic tones to evolve gradually over four electroacoustic suites. . . While Fetus and Pollution are often considered his masterpieces, Sulle Corde Di Aries remains a hidden gem in Battiato's catalogue. With more of a cohesive album-feel than the previous records, Sulle Corde Di Aries slows the pace to take in the sweeping scope of otherworldly sounds and soulful harmonies.” – Superior Viaduct review.

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Il silenzio del rumore - The Silence of the Noise

Il silenzio del rumore Delle valvole a pressione I cilindri del calore Serbatoi di produzione... Anche il tuo spazio è su misura Non hai forza per tentare Di cambiare il tuo avvenire Per paura di scoprire Libertà che non vuoi avere... Ti sei mai chiesto Quale funzione hai? Il silenzio del rumore © 1972 Franco Battiato The classical piece at the beginning of "Il silenzio del rumore" is "Tales from the Vienna Woods" by Johann Strauss II.

The silence of the noise of the pressure valves, the cylinders of heat, production tanks . . . Even your space is made to order, you don’t have the drive to try to change your future for fear of discovering liberty, which you don’t want to have . . . Have you ever asked what function you have? English translation © 2020 Dennis Criteser "Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it 'genius.' . . . Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll." - Superior Viaduct review After the release of Fetus, Battiato began touring. Al.Sa., the Milan publicity firm that collaborated with Battiato on his first two albums and that was instrumental in creating a Battiato persona that intrigued the Italian public, dubbed the tour "Battiato Pollution." The concerts, or “happenings” as they were conceived, were not simply presentations of the music from Fetus. Rather they were spectacles, with Battiato the avant-garde artist breaking down the old order in his outrageous costumes and with symbolic acts like breaking a large cross at some point during the show. The cross was meant to symbolize traditional culture, and is pictured on the back side of the Pollution album cover. The music on Pollution was developed and recorded concurrently with the Battiato Pollution tour. Again on this second album, the lyrics were written by Sergio Albergoni and Gianni Sassi (credited to Frankenstein), the principals of Al.Sa.

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Areknames - Gnikkalebllahsfi

Ima areknames Mala areknapes Ima areknames Mala areknapess Atenoip arret elevoun Sisopromatem ereitnorf alled etnem Areknames © 1972 Franco Battiato To understand these lyrics, read them backwards (it's not perfect; e.g., “atenoip” should be “atenaip”); that gets you "se manchera" in Italian and "if shall be lacking" in English. As theorized by Joel Cairo on Genius Lyrics, the translation of "Ima" and "Mala" has them being chord indications: ima -> a-mi = accordo – mi (in English: chord - E) and mala -> alam = accordo – la minore (chord - A minor). Battiato associated chords with chakras; E is the third note in a C scale -> 3rd chakra, A is the sixth note in a C scale -> 6th chakra. The 3rd chakra is associated with the solar plexus and symbolizes mental activities, intellect, personal power, and will; the 6th chakra is associated with the third eye and evokes intuition, extrasensory perception, and inner wisdom. Therefore, the un-reversed first two lines could be: If willpower shall be lacking, If wisdom shall be lacking.

Ec gnikkalebllahsfi mac gnikkalebllahsfi Ec gnikkalebllahsfi mac gnikkalebllahsfi Tenalp htrae ehtwen Sisohpromatem sreitnorf ehtfo dnim English translation © 2020 Dennis Criteser "Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it 'genius.' . . . Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato began touring. Al.Sa., the Milan publicity firm that collaborated with Battiato on his first two albums and that was instrumental in creating a Battiato persona that intrigued the Italian public, dubbed the tour "Battiato Pollution." The concerts, or “happenings” as they were conceived, were not simply presentations of the music from Fetus. Rather they were spectacles, with Battiato the avant-garde artist breaking down the old order in his outrageous costumes and with symbolic acts like breaking a large cross at some point during the show. The cross was meant to symbolize traditional culture, and is pictured on the back side of the Pollution album cover. The music on Pollution was developed and recorded concurrently with the Battiato Pollution tour. Again on this second album, the lyrics were written by Sergio Albergoni and Gianni Sassi (credited to Frankenstein), the principals of Al.Sa.

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Beta

Son felice di essere un beta Il mio giorno non è duro Dentro il mare mi posso vestire Dai gamma e dai delta Farmi ubbidire Quando gioco non rompo mai niente La violenza non ho nella mente La violenza non ho nella mente La violenza non ho nella mente Dentro di me vivono la mia identica vita Dei microrganismi che non sanno Di appartenere al mio corpo... Io a quale corpo appartengo? Beta © 1972 Franco Battiato The classical piece at the end of "Beta" is an excerpt from "The Moldau," part of a larger symphonic tone poem by the Czech composer Bedřich Smetana.

I’m happy to be a beta. My day isn’t hard. In the ocean I can dress myself with the gamma and delta, make myself obey. When I play I never break anything. Violence I don’t have in my mind. Violence I don’t have in my mind. Violence I don’t have in my mind. Inside of me lives my identical life of microorganisms that don’t know they belong to my body . . . And me, to what body do I belong? English translation © 2020 Dennis Criteser "Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it 'genius.' . . . Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll." - Superior Viaduct review After the release of Fetus, Battiato began touring. Al.Sa., the Milan publicity firm that collaborated with Battiato on his first two albums and that was instrumental in creating a Battiato persona that intrigued the Italian public, dubbed the tour "Battiato Pollution." The concerts, or “happenings” as they were conceived, were not simply presentations of the music from Fetus. Rather they were spectacles, with Battiato the avant-garde artist breaking down the old order in his outrageous costumes and with symbolic acts like breaking a large cross at some point during the show. The cross was meant to symbolize traditional culture, and is pictured on the back side of the Pollution album cover. The music on Pollution was developed and recorded concurrently with the Battiato Pollution tour. Again on this second album, the lyrics were written by Sergio Albergoni and Gianni Sassi (credited to Frankenstein), the principals of Al.Sa.

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Plancton - Plankton

Sto vivendo da due secoli in oceani Ho imparato come respirare mare Le mie mani diventano squame Sotto il mare sta cambiando la mia struttura E il mio corpo è sempre più uguale ai pesci I miei capelli diventano alghe Plancton © 1972 Franco Battiato

I’ve been living for two centuries in oceans. I learned how to breath sea, my hands become fins. Under the sea my structure is changing and my body is ever more equal to the fishes, my hair becomes algae. English translation © 2020 Dennis Criteser "Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it 'genius.' . . . Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll." - Superior Viaduct review After the release of Fetus, Battiato began touring. Al.Sa., the Milan publicity firm that collaborated with Battiato on his first two albums and that was instrumental in creating a Battiato persona that intrigued the Italian public, dubbed the tour "Battiato Pollution." The concerts, or “happenings” as they were conceived, were not simply presentations of the music from Fetus. Rather they were spectacles, with Battiato the avant-garde artist breaking down the old order in his outrageous costumes and with symbolic acts like breaking a large cross at some point during the show. The cross was meant to symbolize traditional culture, and is pictured on the back side of the Pollution album cover. The music on Pollution was developed and recorded concurrently with the Battiato Pollution tour. Again on this second album, the lyrics were written by Sergio Albergoni and Gianni Sassi (credited to Frankenstein), the principals of Al.Sa.

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Pollution

La portata di un condotto È il volume liquido Che passa in una sua sezione Nell'unità di tempo E si ottiene moltiplicando La sezione perpendicolare Per la velocità che avrai del liquido A regime permanente La portata è costante Attraverso una sezione del condotto Atomi dell'idrogeno Campi elettrici ioni-isofoto Radio litio-atomico Gas magnetico Atomi dell'idrogeno Campi elettrici ioni-isofoto Radio litio-atomico Gas magnetico La portata di un condotto È il volume liquido Che passa in una sua sezione Nell'unità di tempo E si ottiene moltiplicando La sezione perpendicolare Per la velocità che avrai del liquido A regime permanente La portata è costante Attraverso una sezione del condotto Pollution © 1972 Franco Battiato

The flow rate of a conduit is the liquid volume that passes by one of its sections in a unit of time. And it is obtained by multiplying the perpendicular section by the velocity you have of the liquid. In a permanent regime, the flow rate is constant through a section of the conduit. Atoms of hydrogen Electrical fields ions-isophoto Radio lithio-atomic Magnetic gas. Atoms of hydrogen Electrical fields ions-isophoto Radio lithio-atomic Magnetic gas. The flow rate of a conduit is the liquid volume that passes by one of its sections in a unit of time. And it is obtained by multiplying the perpendicular section by the velocity you have of the liquid. In a permanent regime, the flow rate is constant through a section of the conduit. English translation © 2020 Dennis Criteser "Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it 'genius.' . . . Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll." - Superior Viaduct review After the release of Fetus, Battiato began touring. Al.Sa., the Milan publicity firm that collaborated with Battiato on his first two albums and that was instrumental in creating a Battiato persona that intrigued the Italian public, dubbed the tour "Battiato Pollution." The concerts, or “happenings” as they were conceived, were not simply presentations of the music from Fetus. Rather they were spectacles, with Battiato the avant-garde artist breaking down the old order in his outrageous costumes and with symbolic acts like breaking a large cross at some point during the show. The cross was meant to symbolize traditional culture, and is pictured on the back side of the Pollution album cover. The music on Pollution was developed and recorded concurrently with the Battiato Pollution tour. Again on this second album, the lyrics were written by Sergio Albergoni and Gianni Sassi (credited to Frankenstein), the principals of Al.Sa.

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Ti sei mai chiesto quale funzione hai? Were You Ever Asked What Function You Have?

Ti sei mai chiesto quale funzione hai? © 1972 Franco Battiato

"Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it 'genius.' . . . Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll." - Superior Viaduct review After the release of Fetus, Battiato began touring. Al.Sa., the Milan publicity firm that collaborated with Battiato on his first two albums and that was instrumental in creating a Battiato persona that intrigued the Italian public, dubbed the tour "Battiato Pollution." The concerts, or “happenings” as they were conceived, were not simply presentations of the music from Fetus. Rather they were spectacles, with Battiato the avant-garde artist breaking down the old order in his outrageous costumes and with symbolic acts like breaking a large cross at some point during the show. The cross was meant to symbolize traditional culture, and is pictured on the back side of the Pollution album cover. The music on Pollution was developed and recorded concurrently with the Battiato Pollution tour. Again on this second album, the lyrics were written by Sergio Albergoni and Gianni Sassi (credited to Frankenstein), the principals of Al.Sa.

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