MADRE
“Madre” is an album born from the collaboration between Italian producer Go Dugong (Giulio Fonseca) and Venezuelan musician Washé.
Their meeting in Caracas in December 2022 was a stroke of fate, bringing together two kindred spirits driven by a thirst for the unknown, a longing for the ethereal, and an awareness of the transcendental. Both artists had been creating music inspired by ancient rituals and shamanic chants, yet they had never met. This encounter gave rise to “Madre”—a tribute to the splendor of nature, expressed through the universal language of music.
The album explores three phases of awakening: dissonance, challenge, and symbiosis, symbolizing the arduous journey toward unity with nature. Each phase is marked by contrasts and unique characteristics, inviting listeners on a journey into the unknown.
Go Dugong shot by Gustavo Vera Febres-Cordero. Courtesy of the press office. © All rights belong to their respective owners. No copyright infringement intended.
We had the opportunity to speak with Go Dugong and delve deeper into the process behind the creation of this remarkable project.
"I was invited to this artist residency by HAPE Collective, a group dedicated to organizing cultural exchanges with artists from around the globe. […] That’s where I met Washé, a musician and researcher of traditional Venezuelan indigenous music. Washé grew up with a family friend from the Wayuu community, who sparked his passion for indigenous musical instruments—a passion he’s pursued since the beginning of his artistic journey, even exploring the traditions of other Venezuelan ethnic groups. It’s a challenging path: Venezuela has over 50 ethnic groups, each with its own communities, traditions, and histories. Mapping all the instruments, their meanings, and their uses is no easy feat.
When I arrived in Caracas, I had the chance to meet Carlos (Washé) in person. We stayed under the same roof and spent our early days together in the studio, recording. At first, we tried to play without much intention, but it didn’t work—it felt more like an exercise in style. We were improvising, exploring, and experimenting with sounds. So, we decided to pause and reflect on what we truly wanted to express. During the residency, we were nestled at the base of Mount Ávila in Caracas. I would often go for walks, and from there, I could already appreciate the breathtaking natural beauty of the place. The city is surrounded by two mountains, and just beyond it lies incredible nature. This immediate and powerful connection with nature led Carlos and me to think about how we, as humans, relate to and perceive it. It was a beautiful starting point. We began by focusing on natural elements, starting with the earth itself—the soil.
We said, ‘Let’s create music that describes and journeys through all the layers of the soil, all the way to the earth’s core, to the magma.’ Then we proceeded to sketch out all the layers in a notebook: the topsoil, the roots, the rocky layers beneath, and finally the molten lava at the center of the earth. We turned this sketch into a sort of score, with each layer representing a phase of the music. We improvised to portray each layer of the earth, and that’s how it all began”.
Washé shot by Gustavo Vera Febres-Cordero. Courtesy of the press office. © All rights belong to their respective owners. No copyright infringement intended.
Sonically, the album unfolds as an ethereal journey. The instruments used were the result of extensive research, incorporating a variety of traditional tools. At the same time, there’s a strong interplay between analog and digital, creating a unique blend of “returning to the roots” with a contemporary twist.
“Carlos has done a lot of research on indigenous musical instruments—many of which mimic the sounds of nature. Hearing him play transported me straight to the jungle, even though we were in an apartment in Caracas. He’s been studying these instruments his entire life.
I, on the other hand, know very little about them, and as I mentioned earlier, it’s incredibly complex to learn everything in detail. Carlos focused on the analog side—the indigenous instruments—while I concentrated more on the digital production”.
Returning to the roots is vital. As human beings, we are energy, a force of nature. This concept also drives the project: it’s not just music; it’s deeply spiritual.
"We are human beings. The word itself says it—we’re not just creatures; we’re beings. The spiritual impact this project had on us was profound. I can say, on behalf of everyone involved, that it has in some way changed our lives. I often meditate. Sometimes I meditate before stepping on stage or even before leaving the house. It depends on the situation—after all, not every venue offers a quiet space for reflection. But it’s a regular part of my daily life, and I need that small, intimate moment to fully focus on live music”.
After Venezuela, where else would you go to explore yourself?
“Probably Mongolia—I’ve felt drawn to that place for a while now. I’ve been traveling to India frequently, not for musical reasons but for spiritual ones. I’ve already been twice this year, and it’s a country I visit often. But Mongolia fascinates me, particularly for its shamanic rituals, which I’d love to learn more about. It’s also a place of immense natural beauty, with stunning mountains. Patagonia is another place I’d love to visit. Both regions have rich musical and spiritual cultures. I was thrilled to share the album we created with the shamanic community that hosted us. They listened to it and loved it, giving us their blessing. It meant a lot to me. I’m still in touch with them and can’t wait to return—they’re a truly wonderful community that I hold in my heart every day”.
MADRE, album cover art. Courtesy of the press office. © All rights belong to their respective owners. No copyright infringement intended.
