His Majesty The Baby

*300 copies limited edition* With "Dadayama", His Majesty The Baby presents a work that stands at the crossroads between music, sound poetry and the theatrical spirit of the historical avant-gardes. The project unfolds as a conceptual suite built from fragments, quotations, soundscapes and vocal interventions that openly engage with the traditions of Dadaism and Surrealism. The album is the result of a long creative process coordinated by Francesco Paolo Paladino, who also oversaw the artistic production together with Luca Chino Ferrari. Its sonic architecture develops through a dense interplay of keyboards, virtual piano and electronic soundscapes, intertwined with acoustic instruments such as violin, guitar, zither, oboe and clarinet, creating a layered and constantly shifting musical environment.

One of the most distinctive aspects of the work is the presence of historical voices from the avant-garde, including Tristan Tzara, André Breton and Filippo Tommaso Marinetti. These elements function not as simple quotations but as cultural resonances that connect contemporary sound language with the aesthetic revolutions of the early twentieth century. The vocal dimension of the album is particularly rich. Alongside the contributions of Carmen D’Onofrio, Serena Nono and Carolina Shiaron Moncaleano appear artists such as Dorothy Moskowitz and Edward Ka-Spell, whose performances extend the expressive range of the project, bringing the sung word towards territories close to phonetic poetry and performance art.

At the symbolic core of the album lies the cycle of compositions devoted to Dadayama, an imaginary place mentioned in a 1919 Dada poem by Walter Mehring. In these sections the album becomes a visionary journey populated by linguistic images, paradoxes and surreal inventions. Pieces such as "Soulless Man" explore the surrealist paradox of presence and absence, while "Bombsong" offers an anti-militarist satire inspired by the pataphysical generals of Enrico Baj. In "This Is Not a Song", the project enters into dialogue with René Magritte’s famous painting and Michel Foucault’s philosophical reflections on representation and reality.

Taken as a whole, "Dadayama" deliberately moves beyond the conventions of the traditional song form. Instead, it inhabits a territory of artistic research where music, language and cultural quotation merge into an open and experimental expressive form. The result is a surreal sonic landscape: an imaginary place where absurdity becomes a poetic method and where music invites the listener to cross into a universe in which ordinary logic can be momentarily suspended in favour of invention.