Ra di Spina – Vocazioni (Agualoca Records, 2025)
Vocazioni, the debut album by Ra di Spina (King of Thorn), is a project deeply rooted in the enthralling folk traditions of Southern Italy. Drawing on a broad range of archival research and oral histories, the album presents a collection of deeply grounded traditional songs that speak to themes of devotion, memory, and cultural identity. Through careful, beautifully crafted, and innovative arrangements, the group bridges the gap between ancient vocal practices and contemporary sounds, incorporating synthesizers, electric guitars, and masterful, spellbinding layered vocals without losing the essence of its folkloric origins.
The album title, Vocazioni, refers to the concept of “callings,” ancestral, spiritual, and artistic, that persist across generations. For Ra di Spina, this notion is not merely metaphorical. Each song is treated as a genuine response to an inherited musical and cultural legacy. Rather than merely replicating folk traditions, the group revives them, imbuing them with modern elements and experimental, yet accessible energy. The album reflects both the burdens and resilience of popular culture, where oral traditions often carried histories of hardship, resistance, and survival.
“Madonni Quant’è Jirti Stu Palazzo”: From Ferrandina (Matera), this enthralling carnevale (carnival) song was traditionally performed on swings during the festivities. Its lyrics carry a dual symbolism, interpreted both as an expression of spiritual elevation and as a metaphor for sensuality, oscillating between innocence and transgression.
“Sant’Anna”: A joyful devotional song from Campania dedicated to Saint Anne, associated with fertility and motherhood. The song, preserved through the oral tradition by Biagio De Prisco, features a distinctive melodic line linked to local rituals where women sought divine intervention for conception.
“Ciuriddi Di Lu Chianu”: Originally performed by Rosa Balistreri, this Sicilian adaptation of a French children’s song reflects on seasonal transitions, from the blooming of flowers to the arrival of fall, using imagery rooted in the rhythms of rural life.
“Matajola”: This Calabrian song dramatizes a playful yet tense dialogue between an authoritarian father and a daughter trying to evade punishment. The arrangement echoes the marvelous vocal patterns of Longobucco (Cosenza) singers, imitating the percussive, cyclical guitar rhythms characteristic of the region.
“Procidana”: A mesmerizing serenade from the island of Procida, popularized by Concetta Barra, expresses longing and the sorrow of separation. The lyrics narrate the emotional conflict of a sailor hesitant to leave his beloved behind.
“Ninna Nanna di Carpino”: This lovely lullaby comes from Carpino in the Gargano mountains and was made popular by Antonio Piccininno. Simple yet profound, it reflects the region’s tradition of soothing melodies meant to accompany children to sleep.
“Nananà Tarantella”: From Montemarano (Avellino), this alluring tarantella features nonsense syllables whose primary function is rhythmic. Traditionally performed without instruments, it was especially prominent during Carnival celebrations. The album version includes a piano accompaniment by Maestro Rocco De Rosa.
“Matarrese Grottesca”: A Lucanian beggar’s song, famously reinterpreted by Antonio Infantino, known for his shamanic approach to Southern music. The irresistible track embodies the mix of the sacred and the grotesque that characterizes much of Southern Italy’s folk repertoire.
“Surfarara”: This Sicilian miner’s chant documents the harsh working conditions of sulfur miners around Sommatino (Caltanissetta). Collected by Alan Lomax in the 1950s, the heartfelt song with exquisite vocals reflects the emotional and physical toll of labor, where love for the beloved remains the only solace amid extreme adversity.
“Canti dei Salinai”: Another work song documented by Lomax, these Sicilian salt workers’ chants were essential to coordinate the communal efforts of harvesting salt. Their rhythmic structure helped synchronize collective actions. The album version features percussionist Maestro Alfio Antico on tambourine.
The final song is a bonus track with a live version of “Procidana.”
Musicians: Laura Cuomo on vocals, synth; Alexsandra Ida Mauro on vocals; Ernesto Nobili on guitars, backing vocals; Francesco Paolo Manna on percussion.
Guests: Alfio Antico on tambourine on “Canti dei salinai”; Rocco De Rosa on piano on “Nananà tarantella”; and Francesco Luongo and Sonia Totaro on vocals.
Gaetano Genovese suggested the final verses “Oi Sant’Anna, mia Sant’Anna, fa’ ascì pren’ a tutt’ quant’” in “Sant’Anna”.
Mix & mastering: Massimiliano Pone.
Tracks 1,2,7,11 were recorded by Max Pone at Godfather Studio.
Tracks 4,5,6,8,9,10 were recorded by Ernesto Nobili at Musique d’ailleurs.
Tracks 3,7 (vocals by Alex) were recorded by Francesco De Cristofaro at Liburia Studio.
Artwork: Paolo Montella – Studio Krich.
Author: Madison Quinn
