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Pivotal NYC figure Gavilán Rayna Russom pays homage to the sacred and the profane in a heady suite inspired by Bernini’s C.17th sculpture, Ecstasy of Saint Teresa
Their follow-up to last year’s ‘The Envoy’, which re-introduced Russom to the world under her new name, ‘Transverberation’ stems from the artist’s enduring obsession with Bernini’s sculptural rendering of St Teresa’s experience of being penetrated by the Holy Spirit. The resulting album is steeped in nostalgia for her uni days and art classes - “She often spent most of that class sitting next to her girlfriend so they could fondle each other in the darkened lecture hall; the mix of religious ecstasy, sexuality and attention to detail in the sculpture lodged deeply in her consciousness” and works as a sort of ontological anchor for rediscovering her sense of spirituality in this new phase of music writing and composition, where the dancefloor is mostly left for dust in favour of loftier and psychedelic themes.
“As a deeply spiritual and often extremely solitary and private person, her love of the story that animated Bernini’s hand has continued to grow throughout her life, especially after multiple visits in the late 90’s and early 2000’s to the chapel of Santa Maria de la Vittoria in Rome where the sculpture is currently kept. Transverberation sees her returning to that story as a sober woman in her mid 40’s, initiated into several spiritual traditions that specifically work with the energy of saints. The 9 works that comprise this release are also informed by her experiences of quarantine and social distancing. In an environment of enforced solitude and ramping collective horniness, the idea and practice of sexual intimacy with god became deep, complex and necessary.”