** LP + Artist’s Signed Drawing "Aura". Edition of 200 copies ** HeghL’s Nomia e Hool takes the listener beyond traditional boundaries, presenting two extended tracks as part of a larger multidisciplinary exploration. Originating from a project by Lisa Baume and Francesco Trabattoni, the album gathers creators from diverse backgrounds - music, visual arts, writing, philosophy, science, and more - into a single creative studio. The result is a collection not just of music but of moments that intersect exhibition, performance, and narrative. The musical dynamics of Nomia e Hool conceptually recall the experiences of Instant Composers Pool (ICP) and the improvisational activities of David Toop, blending performative gesture, fragments of traditional forms and unexpected sounds in a theatrical way.

Nomia and Hool is a dialogue. It is partly a conversation where each voice comes from different places and times. In this first fragment things happen through the participation of mostly dissonant, minor or volatile figures, in relation to elements, timbres and cadences that are sometimes radically foreign to each other and almost always out of register. In this weaving Nomia looks more at the design of the plots, the articulation of sounds or the contraction and disappearance of languages. Hool, on the other hand, is more linked to the rigorous chains or hypotheses of thought. So if at times Nomia complicates, Hool plans and defines, and when instead he interweaves improbable or incompossible ideas and thoughts she relaxes and simplifies recalling clear and reassuring shapes. However, it is clear that both move in their favorite places as more or less occasional extras, within more or less intricate patchedup scenes which however seem to have already been established for some time, everything in fact seems to unfold according to preordained and yet unpredictable ways and forms. Yet, despite their undeniable differences, when the landscape becomes intricate and gloomy, Nomia and Hool team up in the definition of clear images, or, on the contrary, when they find themselves faced with the desolation of predictable configurations they invent labyrinthine and dissonant stratifications, perhaps only for the pure pleasure of elsewhere.

Between these transitions, different figures, more or less significant and cumbersome, compose and dismantle, and each one in a skewed and staggered way compared to the others. What remains are a series of booklets, like approximate archives of that dialogue, transcriptions of the escapes as stasis, more or less complex mosaics composed of linguistic tiles and incoherent visual drafts, immersed in architectural hypotheses or wandering incorporeal places, between comings and goings and permanences, within projects still being defined.