Raskol'nikov is a project started in 2010 by Jacopo Pagin and Francesco Todescato, long-time companions of boundless musical experimentations, from krautrock to electronic, passing through folk and new wave. Due to these experiences the two decided to direct their research simply towards "sound", meant as a magical vehicle capable of bringing the listener beyond the limits of human beings. This is the reason why in their works there is a strong esoteric and religious imprint: the unexplored depths, where spirits dwell, are investigated using the sound as an almost therapeutic medium, as a power able to communicate with the unknown and to conduct through the darkest areas of the mind and of the world. The recall to the ancient divine roots of sound in the Vedic tradition and to the the peculiar use of sound elements in buddhist rituals is due to the intention of fitting in with these teachings, which still seem to be among the few that keep the keys for the access to the human mind. The dostoevskjian origin of the name, taken from the main character of "Crime And Punishment", is linked with the viscerality and the rawness of the human struggle for existence. That same world in which every day a man has to clash with reality (and with the nightmares and desires he puts in it) is the same place starting from which he can look into himself and then overstep himself through the action.
The work of Raskol'nikov moves along two non-parallel but same-oriented ways: the first is the usual way of musical recording and distribution through records (ten so far), during the realization of which there's no limit for the instruments and sound sources used, as well as for the contribution by people not directly involved in the project; the second is the "performative" way, meant as the staging of unique acts of representation of a dialogue between action and sound, an aesthetic attempt of exposing the strict links existing between any "exterior" action and the "inner" sound experience that goes together with it.
Raskol'nikov chose the bowels as its symbol because, as the japanese word "hara", it identifies the belly as a vital center and as a place for an instinctive feeling, free from the cage of concepts. The possibility of this original feeling, as the extreme moment of communication with the Whole, is what makes the humans humans and therefore it is the only effective possibility of their redemption.