Opening (3.44) – Francesca Remigi
Opening sets the conceptual foundation of the album, presenting a clear and powerful articulation of the intersectional feminist framework that guides the entire work. Featuring solo classical guitar, OP1, processed voice and spoken words written by Angela Davis, the piece intertwines music and political thought to invite the listener into a space of critical reflection.
The feminism I want to talk to you about this evening is precisely a framework that allows us to understand interconnections, relationalities and intersectionalities. It is a feminism generated by many decades of anti-racist activism and theorizing, especially by women of color. These women have always understood that feminism that does not also address racism and capitalism will always mis-apprehend the meaning of gender equality. If gender equality is not linked to racial and economic equality it will only affect relatively affluent white women. The feminism I’m speaking about also entails the recognition that narrow gender binary structures that reflect how gender has been ideologically produced and reproduced only prevents us from understanding the fluidity and multiplicity of gender awareness and consciousness and expression. It is feminism that realizes that as long as racism continues to organize our social/economic lives, our educational system, our prison system, our housing accessibility, our job availability, gender equality will not exist. Gender equality cannot be conceptualized without foregrounding racial and economic equality. Racial, economic and gender justice are inextricably connected, one is not possible without the others.
(Angela Davis – Frameworks For Radical Feminism, Boston Public Library, June 2019)
Roots of Gender Violence (5.12) – Francesca Remigi
Roots of Gender Violence confronts the historical foundations of patriarchal violence, drawing on Silvia Federici’s analysis of witch-hunt as a central mechanism in the rise of capitalism. Through this lens, the persecution of women is revealed not as superstition, but as a strategic assault on female autonomy, embodied knowledge, and resistance. Musically and visually, the track unfolds like a ritual procession: a slow, solemn march of chained witches being led to the stake. As the piece reaches its climax, it evokes the image of witches being led to the pyre, flames rising to represent the destruction of the “diabolical woman,” and with her, the erasure of unruly femininity, instinctual wisdom, and the profound, embodied connection to the natural world.
Like the slave trade and the extermination of indigenous populations in the ‘New World,’ the witch‑hunts stand at the crossroads of a cluster of social processes that paved the way for the rise of the modern capitalist world…
The ‘rationalization’ of the natural world—the precondition for a more regimented work discipline and for the scientific revolution—passed through the destruction of the witch.
Destruction of magical conceptions of the body
Subjugation of uncontrolled instincts
Repression of the diabolical woman
(Silvia Federici – Witches, Witch-Hunting and Women, PM Press, 2018)
Caccia alle Streghe (4.01) – Francesca Remigi
Caccia alle Streghe explores the dark legacy of the European witch hunt through a contemporary sonic lens. The piece reflects on how accusations of witchcraft were used as tools of control—stripping women of autonomy, enforcing domestic labor, and laying the foundations of capitalist patriarchy. Musically, the track merges experimental textures, fractured rhythms, and processed voices to evoke fear, resistance, and buried power.
Naming and persecuting women as ‘witches’ paved the way to the confinement of women in Europe to unpaid domestic labour. It legitimated their subordination to men in and beyond the family. It gave the state control over their reproductive capacity, guaranteeing the creation of new generations of workers. In this way, the witch‑hunts constructed a specifically capitalist, patriarchal order that has continued into the present, though it has been constantly adjusted in response to women’s resistance and the changing needs of the labour market.
(Silvia Federici – Witches, Witch-Hunting and Women, PM Press, 2018)
Permanent Colors (6.16) – Francesca Remigi
Permanent Colors is a musical tribute to gender diversity and a celebration of the LGBTQ+ community. Inspired by the colors of the Pride flag, the piece embraces the multiplicity of identities, expressions, and experiences that exist beyond binary frameworks.
Fluid Echoes (4.41) – Francesca Remigi
Through ambient textures, layered rhythms, and open improvisational structures, the composition reflects the fluidity and spectrum of gender, rejecting fixed definitions in favor of constant transformation and coexistence. Each musical gesture becomes a color—unique yet interdependent—echoing the idea that true equality lies in embracing difference rather than erasing it.
Loghaven (4.20) – Francesca Remigi
Loghaven was composed in 2023 during an artistic residency at the Loghaven Artist Residency (Knoxville, Tennessee), a space dedicated entirely to creative development and artistic exploration. The track is both a sonic diary of the residency and a tribute to the transformative power of uninterrupted artistic time.
Liberation I (3.46) – Francesca Remigi
Inspired by Angela Davis’s insight that art can radically transform popular consciousness, Liberation I is a mantra of resistance. Driven by a repetitive rhythmic pattern and shouted lyrics, the track channels the energy of protest and collective awakening.
The music’s hypnotic pulse underscores a refusal to conform, while its vocal urgency challenges dominant notions of “normality.” Through rhythm and repetition, Liberation I becomes a sonic space where feminist consciousness is not only expressed—but demanded.
The cultural climate enables the emergence of feminist consciousness. Arts specifically, literature and music transform popular consciousness in a way that can powerfully shift ideological notions of what constitutes normality.
(Angela Davis – Frameworks For Radical Feminism, Boston Public Library, June 2019)
Blueberry Picking (4.35) – Francesca Remigi & Naomi Nakanishi
Blueberry Picking reflects Angela Davis’s call for transformation —a shift not just in representation, but in the very structures of power and expression. The track unfolds through delicate synth layers, spoken word, and interwoven vocal textures, creating an atmosphere that is intimate yet quietly radical. Rather than imposing a message, the music invites reflection, echoing Davis’s insistence that art must evolve alongside social movements.
It’s not only about bringing marginalized groups into existing structures, it’s not about inclusion but about transformation and justice, it’s about insistence of the transformation of the institution itself. The literature is changing, the music has to change, the revolution itself has to change.
(Angela Davis – Frameworks For Radical Feminism, Boston Public Library, June 2019)
Liberation II (3.23) – Francesca Remigi
Serving as the reflective outro of the album, Liberation II explores music as a space for emotional and political depth. Inspired by Angela Davis’s assertion that music can articulate what movements alone cannot express, the track unfolds in an ambient soundscape of synth layers and atmospheric textures. Meditative and spacious, it invites listeners into a moment of introspection—a space to absorb, to feel, and to imagine new possibilities beyond struggle. As the album closes, Liberation II leaves us with the reminder that music is not only accompaniment to action, but a language of resistance and remembrance in its own right.
Music is a realm that has a great deal to do with social justice. It helps us often express that which we are incapable of expressing in the context of our movements.
(Angela Davis – Frameworks For Radical Feminism, Boston Public Library, June 2019)
FRANCESCA REMIGI 