Cosmos, a transcendental and meditative Indian, had deep black holes of dark matter as eyes, almost ashen skin and black hair that was reflected in his eyes.He owned one of Jimi Hendrix's first guitars and was the psyche of the group. His symbol was the triangle.Whose universal symbolism is found in all cultural and popular traditions, seen by him as the manifestation of the return to the primordial sound.It therefore expresses both the idea of ​​divinity, found in the symbolism of the trinity, and the idea of ​​man's ascent towards divine transcendence, the universal.Therefore the microcosm that rises towards the macrocosm and vice versa.According to the peculiar alchemisonic interpretation in the order of closed figures the triangle is placed between the circle and the square from which it can be deduced that it represents an intermediate entity between the almost abstract or spiritual substance, and the matter that falls under our senses.It is no coincidence that the triangle with the tip pointing upwards represents fire and the male sex while pointing downwards represents water and the female sex. The intersection or overlapping of the two triangles gives rise to the graphic representation of the Seal of Solomon.And finally Ginius, an Indo-European with milky skin and eyes the color of summer leaves as he liked to define himself. He owned one of Jimmy Page's guitars and was the brains of the group.And his symbol was the cross which was a very ancient symbol used in all cultures of the world to represent magical properties of a crossroads or a departure.Crossroads are considered places of intense energy with two apparently opposite characteristics: on the one hand there are openings to other worlds and, on the other there are obstacles to these worlds themselves.Each had his own specific task in the search for the philosophical sound in the cosmosonic composition.Those years of apprenticeship had been difficult, but their determination had brought them a fair amount of success. Their strength was not in recording albums or passages on TV Radio and anything else that Musicbiz proposed, but only in concerts and exhausting rehearsals in the studio to best celebrate their favorite ritual. Playing in public was a cathartic experience and a catalyst for more emotions and they set off on the most disparate tours in places that perhaps had never seen or heard of rock but that for their peculiarities and particularities integrated perfectly with their compositions.They did not perform on real stages but in places of natural and also cultural and archaeological interest.Playing in the strangest and most different corners for musicians.The idea came to Ian after he had seen the concert film "Pink Floyd at Pompeii" and he wondered why stop there, there are so many other places of the same beauty and rarity and so they began their search for places to perform.From Easter Island to Stonehenge from the Colosseum to Pompeii, in the desert under the pyramids in the Amazon jungle on the polar ice cap at the foot and on the roof of the world and many other places.They recorded all the dates of their tour and then collected the best of it on C.D. and D.V.D. That they sold to support themselves when they were not.

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Azad, the drummer - with the appearance of an Inuit, an ancient people descending from the land of Thule north of Alaska - had marine eyes and a yellowish complexion, with thick blond hair almost tending to albino, he was of slim build, but every muscle was well defined like in an ice sculpture.He owned a drum kit made of some pieces of the greatest drummers that rock could produce in the "Jurassic" period: Bonzo and K. Moon, respectively drummer of Led Zeppelin and The Who.There he had recovered in old recording studios and from various collectors who jealously guarded them in enormous glass cases, with him they began to live and pulsate and recreate those sounds that he loved so much.His drum kit, other than from these pieces of rock history, was completed with various percussions of different ethnic groups such as African or Indian drums, wonders of other cultures but which had the same function to create a cathartic and enveloping rhythmic carpet.Azad was the heart of the group and gave rhythm and pulsations, never banal, to their music to the battle cry of qailertertang, Inuit god of time.His symbol was the circle. He had chosen it because in his cosmosonic thought it represented perfection, completeness, sonic union, everything that has no break or censorship.As an emblem of that which has neither an end nor a beginning, formed by a single line whose ends rejoin to cancel each other out.For him the circle represented the primordial substance of sound, impalpable and transparent, uniform and undifferentiated.Therefore a symbol of the principle from which everything originates and to which everything returns.His instruments were arranged almost like a sacred place, where all the material and spiritual energies converge in a single point: music.Ian, who was an American Indian from Red Rock, proud of it as in his aquiline features that distinguished him, had the eyes of his land and the body of a bear when it rises to attack. He owned one of Jaco Pastorius' basses and was the soul of the group.He had chosen the square as his symbol, which for him represented the squaring of sonic matter, or rather the regularization of sonic matter that by its nature would have remained shapeless and chaotic.Therefore as a symbol of definition and delimitation, like a sacred enclosure of a temple, the foundation of the conjunction of the four symbolic cardinal points.If the circle represented perfection for Mars, the square then represented justice for Ian.Ian's square gave a sense of justice to Mars' perfection, succeeding in the materialization of ideas by giving them shapes and graces.Their fusion therefore laid the foundations of the sound of life and of the yogyety creature that slowly and patiently chaotically took shape.

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Celia, come tutte le donne yatiris Aymara, indossava conorgoglio il tipico cappello a bombetta, simbolo del soprannome “cholitas”, untempo dispregiativo ma ora motivo di fierezza. Si dice che la parte piùattraente di una donna sia il polpaccio, chiamato “tussu” in lingua Aymara.Sebbene Celia avesse belle gambe, erano diverse dalla classica andina. Ian,invece di concentrarsi sui polpacci, fu subito catturato dalla profondità deisuoi occhi e dal resto del corpo nascosto sotto la gonna rigonfia di una“senora de pollera”, come vengono chiamate le donne andine per via delle lorogonne caratteristiche.Ogni cholita ha la sua personalità e ogni bombetta il suostile. I cappelli possono essere di vari colori come nero, grigio e marrone,con nastri a contrasto, tesa più larga o parte bombata più allungata osquadrata, a volte decorati con fiocchi e nappine. L’altezza della bombetta puòindicare lo status all’interno della comunità, ma il dettaglio più interessanteè il modo in cui viene indossata: dritta indica che la donna è sposata, ditraverso che è single o vedova. La bombetta è un oggetto prezioso per le donneAymara.La bombetta di Celia era nera, decorata con spille dei suoigruppi preferiti come i Doors, Pink Floyd, Led Zeppelin, Ramones, AC/DC e moltialtri. Il drappo era fatto dei colori della bandiera arcobaleno e,naturalmente, la portava di traverso, cosa che Ian notò subito.Celia amava la danza e la musica che da sempre ha avutonotevole rilevanza tra i popoli andini, così come tra gli aymara.Celia suona il charango, uno strumento della famiglia deiliuti costruito originariamente con la corazza di armadillo. Sembra sia stato realizzato per la prima volta a Potosí nelXVII secolo ispirandosi alla vihuela, molto diffusa tra la nobiltà spagnola.Lei usava una pedaliera stereofonica da cui a sinistra facevauscire il suono naturale del charango mentre sulla desta lo caricava di effettimoderni per creare un suono particolare e rock contemporaneo del nostro tempo.La batteria di Ajuae era composta dalla gran cassa del tipicotamburo andino il bombo legüero ottenuto dal tronco di un albero scavato in unpezzo unico su cui monta due pelli di capra e pecora intelaiate da cerchi dilegno cui sono collegati i tiranti in cuoio o corda.Sopra vi era appoggiata la quijada de burro o mandibola diasino costituito da una mandibola di asino per l’appunto,usata come percussionea volte è "ornata" con piccoli sonagli. Si suona tenendola con lasinistra e strofinando i denti con la destra.Come rullante, usava il wankara tipico tamburo piatto aymaracui aveva aggiunto una sordina di rullante tradizionale.Il tutto era coronato da una specie di trono fatto da unflauto di pan gigantesco che ogni tanto durate le loro performance, si alzavaper suonarlo.Ilbassista Naay suonava un classico richenbecher cui aveva messo delle Corde perBasso rinascimentale in budello di agnello e tappezzato dei colori tipici dellabandiera Wiphala Il, disegno di questa bandiera è composto di quarantanovequadrati, distribuiti con sette colori diversi.
•    Il rosso è la terra.
•    L'arancio è la società e la cultura.
•    Il giallo è l'energia.
•    Il bianco è il tempo.
•    Il verde sono le risorse naturali
•    Il blu è il cielo,
•    Il viola è il governo del popolo andino.Il chitarrista Lik usava una diavoletto a dodici cordeelettrica con una distorsione fuzziana ma al contempo non troppo pesanteabbastanza leggera da rendere il suono quasi sferosonico tondeggiante vibrantema non pesante.E infine la voce di celia si spalmava e strusciava sultappeto sonoro creato dal gruppo.

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CHAPTER ONE
IN SEARCH OF THE LOST SOUND
"... Before me ... Abandon all hope, ye who enter here..." (Dante, Inferno, III, 9)
In Loadstone, a small town at the foot of the ghost town of Rhyolite near Zabriskie Point in Death Valley, everyone knew it, but more than a rehearsal room, that of Ian, Jin, Mars and Cosmos seemed like an alchemic-sonic laboratory, pregnant with rock relics onorison researcher founding like the archaOf the perfect golden sound, the philosophical sound where sound is neither created nor destroyed but all sound is transformed.And everything will transform during their lives.The building was an old house built in the early twentieth century in the wake of the local mining research.It was located south of Dante’s View, which offers an extraordinary view of the entire white expanse that characterizes the southern basin of Death Valley.The extraordinary nature of this place is given by the fact that this viewpoint seems suspended between heaven and earth, so much so as to recall, emblematically, Dante’s Purgatory.Dante's View is part of the Black Mountains, in the immediate vicinity of which stands Furnace Creek., and right on the entrance door, painted in carmine red, of Loadstone Studios, stood that phrase of Dantesque workmanship.It opened the doors to that cosmo-sonic universe as a warning to their constant and patient research that over the years had given rise to their sound.On the way to a journey through a single muse to inspire them: music and sound.Opening that passage and crossing that carmine door, you had the sensation of being in a new universe.And it was truly out of the ordinary and exciting at the same time.The walls and ceiling were completely painted black, paved with gold and silver dots and a thousand other Newtonian colors blending into a single light.As if they were the notes of God transcribed in the universe or perhaps in absolute nothingness.Or rather in the whole void in its immutable mutant formula, like what appeared in that asideral place.On the walls the various posters of rock groups seemed to be fused on the same with that dense and thick black paint like cosmic tar, and other stains of who knows what other alien substance, thickened by the years spent bouncing the notes, outlined like cameos an environment so magical, Multiverse and caustic.At the center of the room stood the skranio: a sort of temporal-musical think tank in the shape of a skull.From the look of it seemed like the command post of a modern space station with wires, cables and computers connected to each other like a giant octopus on which to sit and find concentration and new inspiration.A sort of asideral time machine where you could find, study, cut and sew all the guitar riffs, bass lines and drum breaks that had made the history of rock.Everything around smelled and tasted of music; of various instruments and strange contraptions; of almost pre-cambrian flavors.In many cases they were instruments that belonged to their myths, to those historical rock figures sacrificed for rock and idolized by rockers.In other cases, reproductions or ethnic instruments belonging to various cultures.In the four corners of the nerological room there were speakers with a holophonic system, so that the music could rotate, float in the room like a rhythmic dance suspended in the golden air.One of the most impressive things to see was also the immense bookcase that also served as acoustic insulation for the room itself.They were volumes and essays on the evolution of music in its various forms of expression; treatises on the golden sound or on binaural sounds; up to the recent sounds from the cosmos proposed by modern physicists and scientists. Which did nothing but confirm, even if with different names, theories and thoughts of past philosophies or religions.As well as treatises on cultures and symbols that influence our earthly life so much.In short, treatises on this energy vector called music.

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Nessuno si accorse del suo arrivo a Loadstone e ancor menosapeva chi fosse.Sospinta dal vento, attraversò la via principale come sospesanell’aria in quella via spettrale, l’Antonioni Street che richiamava il celebreregista italiano che qui aveva immortalato alcune immagini del film ZabriskiePoint.

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descrizione dei musicisti e le loro culture di appartenenza

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capitolo primo

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