Stereo Six: Mystic Aura Mulls Over Some of Her Favourite Records

For Mystic Aura, music is much more than just an occupation or a pastime. It is a pursuit of something higher. It is a drive for poetic depth, sound experimentation, and cultural fusion.

Mystic Aura is the stage name and latest musical venture for Sara Cicognani. Born in Lugo, Italy, the singer-songwriter is over two decades into her career as a musician and performing artist. Blending personal storytelling with diverse musical structures, Cicognani has become a well-established artist in the Italian and French music scenes. She fearlessly pursues an exploration of the intersection between sound and meaning. Previously, she was a member of several bands, often as the lead singer and principal songwriter. Now, she has really found her niche as a solo artist.

Launched last year, Mystic Aura is Cicognani’s most personal and visionary musical endeavour yet. It’s a blend of synth pop, electronic, hip-hop, and world music. Her songs address themes such as transformation, inner awareness, cosmic rhythm, and emotional healing. Mystic Aura is not just music meant for artistic output, but also as a ritual and meditative practice. She recently released the new single “Shine,” with her debut album now in production.

We are joined by Mystic Aura for a Stereo Six, sharing with us six records that inspired her in the making of her new single “Shine.”

Mystic Aura “Shine” single artwork

1. Björk – Homogenic (1997, One Little Indian Records)

“Homogenic is one of those albums that feels like it comes from another planet. With this album, Björk managed to blend human emotion and sonic experimentation in an almost alchemical way. It is without a doubt one of the deepest sources of inspiration for my artistic path and that of Mystic Aura — a project that escapes labels precisely because it arises from the meeting of different worlds.

“In this sense, Homogenic represents an absolute model of innovative genre fusion: the combination of tribal percussion and electronics, intertwined with Eumir Deodato’s lush orchestrations and unique touches like the accordion or the glass harmonica, defines the essence of its sound.

“‘Jóga’ is perhaps the emotional pinnacle of the album, a track that transcends the song form to become an almost spiritual experience. Its power has left an indelible mark on the way I conceive music: the calm grandeur of Homogenic has no equal, neither in the ’90s nor elsewhere.

“It is a universe of its own, an immersive and cinematic experience reflected in the arrangements of tracks like ‘Planet Xeon’ and ‘Shine.’ In particular, the Tibetan choirs in ‘Shine’ are a direct homage to the mystical and slightly dark atmospheres that permeate much of Björk’s work.”

2. Battiato – Gommalacca (1998, Mercury Records)

“Franco Battiato is one of those artists who, despite never receiving the recognition abroad that he deserves, has left a deep mark on my writing, especially in the lyrics. In ‘Shine,’ the same mystical tension that permeates Gommalacca resonates, an album whose verses were created in collaboration with philosopher Manlio Sgalambro.

“The track ‘E stato molto bello’ is one of the most poetic moments of the album. A short lyric that unfolds and then returns in a carousel of fragments that do not necessarily need to give a univocal meaning to the text, but rather serve to give the listener glimpses of illumination.

“In Gommalacca, electronic exploration merges with a refined taste for experimentation, showing how avant-garde and philosophical reflection can be combined into a unique musical language. This approach deeply inspired the sonic construction of ‘Shine:’ sounds typically associated with meditation, Tibetan bells, harmonic drones, and crystalline reverbs become an integral part of the arrangement, defining its emotional tone and guiding the listener toward a state of inner openness and connection.”

3. Pink Floyd – The Dark Side of the Moon (1973, Harvest Records)

“In some of my songs, a very marked ‘cerebral-dreamlike’ component emerges, which is why Pink Floyd’s The Dark Side of the Moon is an essential reference point. It’s not just about the lyrics, but about the sounds, the noises, the acoustic spaces that transport the listener into an experience suspended between dream and reality. The album explores everything that escapes our rational side, immersing us in our dark side. It moves like a visionary journey reminiscent of the space odyssey told in ‘Planet Xeon:’ a man soaring into the sky, opening a space to reign solemnly and undisturbed, far from the noises and injustices of earthly reality.

“The track ‘The Great Gig in the Sky,’ dominated by Clare Torry’s soul-gospel vocals, immediately inspired me when thinking about the choirs in ‘Shine:’ that ability to transform the voice into an emotive, floating instrument, suspended between pain and release, is something I tried to replicate in my songs.

“Another characteristic I share with The Dark Side of the Moon is the creative use of sound effects: not mere decoration, but narrative tools that make listening engaging and meditative. Extended times, emotional crescendos, carefully studied sonic spatiality — every element contributes to making each track almost cinematic, an experience that envelops the listener and guides them on an inner journey.”

4. Mike Oldfield – Crises (1983, Virgin Records)

“Musically, ‘Shine’ is a work rich in nuances, a soundscape that blends world music, synth-pop, and new age, suspended between earth and sky. Among the masters who most inspired me in this sense is undoubtedly Mike Oldfield. His album Crises shows a surprising fusion of folk melodies and world influences, traversed by elements ranging from new age to avant-garde jazz. This combination of styles creates a unique, enveloping, and deeply engaging atmosphere.

“As happens in ‘Moonlight Shadow,’ dominated by Maggie Reilly’s delicate voice, the musical foundation of ‘Shine’ subtly blends pop and folk elements. The lyrics maintain a strong singer-songwriter imprint, just like in ‘Moonlight Shadow,’ which, despite its soft melody, tells a story of murder and grief processing.

“When it comes to new age music, one cannot ignore ‘In High Places,’ where the legendary voice of Jon Anderson, historic Yes vocalist, with his high, feminine timbre, creates an imaginary bridge with ‘Foreign Affair,’ where Maggie Reilly’s voice returns. In both compositions, the repetition of verses and the slow, progressive interweaving of music generate a sense of meditation and transcendence — the same spirit I try to capture in the atmospheres of ‘Shine.’”

5. Peter Gabriel – So (1986, Virgin Records)

“Peter Gabriel has always been recognized for his extraordinary ability to merge world music with synth-pop, creating an unmistakable and deeply innovative sonic language. So, released in 1986, represents the culmination of this exploration and is also one of the main sources of inspiration for my project, Mystic Aura.

“In So, Gabriel intertwines traditional African and Brazilian rhythms with the technological possibilities of the synthesizers of the time, such as the famous Fairlight CMI, creating a unique balance between organic and artificial, tribal and modern. A seemingly classic ballad like ‘Mercy Street’ hides within it a core of ethnic experimentation: the track originates from a forró composition (a popular dance from Northeast Brazil) recorded in Rio de Janeiro and then played back at ten percent of its original speed, achieving a denser, warmer sonic texture that enhances the breath of the cymbals and the phrasing of the guitars.

“Similarly, ‘In Your Eyes’ is an Afro-polyphonic gem: Gabriel’s intimate and velvety voice intertwines with the vocalizations of Senegalese singer Youssou N’Dour, who sings in his mother tongue, transforming the song into a celebration of the fusion between sacred and profane. In Senegalese traditions, indeed, love for a woman mixes with love for the divine — a spiritual tension that also vibrates at the heart of Mystic Aura.

“Among the instruments I love and that recur in my sonic world is the kalimba, which in ‘Planet Xeon’ adds a unique rhythmic colour, blending with synth-pop and electro textures. The idea is to build a bridge between Western music and tribal sounds, between digital precision and the primordial heartbeat of the earth. So demonstrates how this fusion can be both innovative and accessible, opening the doors of world music to a broad audience through clear, recognizable, and deeply human melodies.”

6. Lauryn Hill – The Miseducation of Lauryn Hill (1998, Ruffhouse Records / Columbia Records)

“I chose this masterpiece because in my upcoming EP, besides ‘Shine’ and ‘Planet Xeon,’ there will be tracks incorporating elements of hip-hop and soul. In particular, ‘Bad Education’ pays homage already in its title to Lauryn Hill’s album.

“Like Hill, the former Fugees member who assumes the role of a disillusioned poet, in my songs, I also try to define a unique singer-songwriter recipe. My music has deep roots in Italian and international songwriting — from Fabrizio De André and Luigi Tenco to Bob Dylan, Leonard Cohen, Carlos Jobim, and Franco Battiato — with the desire to combine profound and spiritual lyrics with catchy melodies and rich, intricate arrangements.

“The Miseducation of Lauryn Hill is a compendium of warm soul arrangements, interwoven with reggae riffs and African rhythms flowing from track to track. Hill’s love for Jamaican reggae and deep gospel drives the album, and I can say I share the same passion for these genres.

“In the Mystic Aura project, this inclination manifests in the collaboration with Fauzi Beydoun, leader of the legendary Brazilian reggae group Tribo de Jah. Together we created three features, ‘Love to the World, Peace to the People,’ ‘Follow the Flow,’ and ‘In Such Extreme Time,’ in which the same desire to create groove-filled music, capable of moving consciences through authentic and inspired songwriting, can be felt.”