{"id":19948,"date":"2024-06-07T11:29:23","date_gmt":"2024-06-07T09:29:23","guid":{"rendered":"https:\/\/digipur.it\/?p=19948"},"modified":"2024-06-07T11:29:23","modified_gmt":"2024-06-07T09:29:23","slug":"danza-negra-is-the-new-single-by-cemento-atlantico-taken-from-the-new-album-dromomania-out-on-21th-june-2024-via-bronson-recordings","status":"publish","type":"post","link":"https:\/\/digipur.it\/en\/danza-negra-is-the-new-single-by-cemento-atlantico-taken-from-the-new-album-dromomania-out-on-21th-june-2024-via-bronson-recordings\/","title":{"rendered":"“Danza Negra” is the new single by Cemento Atlantico, taken from the new album “Dromomania” out on 21th June, 2024 via Bronson Recordings"},"content":{"rendered":"

The irrepressible\u00a0desire to travel<\/strong>, known as “Wanderlust”, is called “Dromomania” in a clinical context. Contemporary actions and habits are often catalogued and associated with scientific syndromes or pathologies. Is dromomania a dissociative escape or a feeling necessary for the enrichment of one’s experiences?<\/p>\n

Since the dawn of everything, perpetual nomadism cannot be compared to the concept of simple wandering but rather to the voracious attempt to increase order and individual and collective knowledge.\u00a0Cemento Atlantico<\/strong>\u00a0– the\u00a0electronic project<\/strong>\u00a0of the Italian producer and DJ Alessandro \u201cToffoloMuzik\u201d Zoffoli, from Cesena – acts as a dromomaniac to give a broader meaning to the present that surrounds him. His new album\u00a0Dromomania<\/strong><\/em>\u00a0will be released on CD, vinyl and all digital platforms on\u00a021th June, 2024<\/strong>\u00a0via\u00a0Bronson Recordings<\/strong>, following\u00a0the debut instant cult classic\u00a0Rotte Interrotte<\/em><\/strong>\u00a0of 2021.<\/p>\n

Cemento Atlantico<\/strong>‘s logo is made up of the initials “C” and “A”. According to him:\u00a0\u00abThe letter ‘A’ indicates the first Ocean I crossed, the Atlantic one, while the letter” C – represented by a crescent Moon, with no political or religious reference – symbolizes rebirth or the advent of a new life in many ancient and modern cultures\u00bb.<\/p>\n

Dromomania<\/em><\/strong>\u00a0thinks of music as a collective ritual, with an international vision expressed in an intimate and artisanal way. All is based on the recalculation of traditions in a network of analogue and digital languages. Once again,\u00a0field recordings<\/strong>\u00a0are the starting point of each track: these are not trivial sound souvenirs but sources capable of telling a real story. Documents that try to respect other cultures, sharing an emotional value amplified and supported by concrete beats.<\/p>\n

Heterogeneous yet compact in its approach to\u00a0house, future garage, post-dubstep and world music<\/strong>,\u00a0Dromomania<\/strong><\/em>\u00a0is an album that is both darker and more rhythmic compared to\u00a0Rotte Interrotte<\/strong><\/em>. Cemento Antico says: \u00abIn\u00a0Dromomania<\/strong><\/em>the bass lines are overbearing. I wrote\u00a0Rotte Interrotte<\/strong><\/em>\u00a0in a particular historical period, due to the limitations of the Covid-19 pandemic. That album was my escape route, to convince myself that that absurd moment would be over, so I turned the pages of my “audio travel memories” and tried to relive them by sharing their imagery.\u00a0Dromomania<\/em><\/strong>\u00a0has brought me back on the road, finally free again, but it is also a darker work: the pandemic made me open my eyes to many aspects. In fact, I believe that the pandemic was the only crisis in history that did not give rise to a cultural revolution, but fueled ignorance and conflicts. In many situations the worst side of humanity has emerged, so I wanted to treat my productions with a less “chill” attitude. As if I had turned up the volumes on wars and arrogance. I would like the complaint to be alive, I would like to\u00a0attract attention by making me feel louder\u00bb.<\/p>\n

After Garawek Khaos <\/em>and\u00a0El Que Puede Hablar<\/em>,\u00a0<\/strong><\/em>marking the first stops in Thailand\u00a0and\u00a0Mexico,\u00a0the new single\u00a0Danza Negra<\/em><\/strong>\u00a0<\/em>is\u00a0<\/em>available digitally today\u00a07th June and\u00a0transforms the “danza negra” of the indigenous people of Monimb\u00f3, in Nicaragua, into an electro-dance<\/strong> explosion with ethno-pop melodies. Poetry of sound, mysterious masks, tribal percussion and a marimba from the edge of the lagoon for fighting and dancing in the name of liberation. The ambient sounds and the opening words were recorded on the shores of Laguna de Apoyo. The text includes a passage by the poet Alfonso Corte\u0301s, quoted several times by the revolutionaries of the F.S.L.N..<\/p>\n

Among the most important places from the point of view of traditions in Nicaragua<\/strong> are the city of Masaya and the adjacent Laguna de Apoyo: a lake situated in a volcanic crater also known as the “mouth of hell”. This lagoon was the refuge of the ancient inhabitants of the current Monimbo\u0301 (the most known district of Masaya). Here originated the first offensive for the liberation of Nicaragua with the Sandinista National Liberation Front (F.S.L.N.). The indigenous people of Monimbo\u0301 manufactured the first homemade bombs and fought with their faces covered by the typical \u201csieve masks of Monim\u00adbo\u0301\u201d. These fierce protests also resulted in music and dance through the “danza negra”: a ritual born in the colonial times, when indigenous women despised the men of Monimbo\u0301 lending themselves to the Spanish invaders during dance parties. For that, the enraged men created this unique choreography: a dance performed by groups of eight men, four dressed as women including Spanish fans, and four dressed as men with their faces painted black and covered with sieve masks to keep their identity con\u00adcealed.<\/p>\n

\u00abI tried to tell in a few minutes the history of the popular \u2018Danza Negra\u2019, typical of the city of Masaya. Masaya gave me rare hospitality during my stay in Nicaragua \u2013 this happened a few months before the last bloody revolution against President Daniel Ortega in 2018. It was here that I learned the faith and the tenacity of the last Nicaraguan revolutionaries. I managed to record the field recordings of ‘Danza Negra’ during the San Jer\u00f3nimo festival in the Monimb\u00f2 neighborhood. In the\u00a0videoclip<\/strong>\u00a0three masked people, played by me, paint the ruined historical paintings of Nicaragua\u00bb.<\/p>\n

In\u00a0Dromomania<\/strong>\u00a0<\/em>the point of arrival is the reconstruction and sharing of an ever wider\u00a0map. The landscapes dictate the sound flows, that translate into thought.\u00a0Overthrows of state power, devotional rites, rebellions, legends, abuses and questions chase each other rhythm after rhythm, citing history through the space-time coordinates of\u00a0Thailand, India, Bulgaria, Mexico, Andalusia, Romagna, Colombia, Nicaragua<\/strong>\u00a0and\u00a0Panama<\/strong>.<\/p>\n