Biography

The 2005 manifesto for Diffrazioni Sonore and the 2008 framework for Aisthànomai reveal how this double engine of creation operates, demonstrating that the physical act of vocal improvisation and the philological analysis of language converge. In these projects, which stand as broad acts of post-structuralist resistance, she literally weaponized: Gilles Deleuze’s «entre-deux-coup-de-dés» and his concept of linguistic "indifferentiation" to operate short of traditional musical categories and genres; Jacques Derrida’s early deconstruction framework to treat the text not as a defined system, but as an "open circularity continuously re-definable and non-reducible to a unity"; Roland Barthes’ critique of rigid textuality to liberate the listener from a "condition of minority" and grant them the true "pleasure of the text"; Georg Wilhelm Friedrich Hegel’s concept of “empty” free will to originate research short of mindsets conforming to the standard “analytic techniques” of the academies; and Pier Paolo Pasolini’s Empirismo Eretico to grasp the necessity of an essential openness, which is as grammatical and stylistic as it is purely philosophical. To this, she welds a technical-aesthetic and linguistic autonomy that discovers within electronic music its original strength as "fixed sound"; working directly on the medium, the author assumes ultimate responsibility for both the sonic and textual substance, in an open path toward original epistemological signification.

Rather than a simple musical maturation, the evolution toward Spannung (2015) represents a transition from text to being—a radical leap in scale shifting from a post-structuralist deconstruction of language (to break the rules of classical, academic, and mundane Western music) to a concentrated, existential ontology (Heideggerian Dasein), assuming “the urgent and proximate original responsibility” of being thrown into the world within the cycle of Dasein. The Spannung voice is no longer just "decentering" a text; it is confronting the Ge-stell (the ordinary structures of the construct) to reclaim the authentic sense of being as «already ahead of itself in the world» where we are born and thrown, embodying the ultimate stakes: «Voice stakes everything, at high degrees of exposure. And voice is man here.»

Her language tightens into the multi-stylistic, ontological voice-thought of the Dasein cycle on one hand, and into the poetry of resonance on the other—a concept implying both an acoustic phenomenon and an uninterrupted, essential deferment of meaning. Within this third milestone project and cornerstone—a monument of 3 discs, 31 tracks, and three hours of music accompanied by a 36-page booklet—Daniele integrates texts by Jacques Derrida to arm her graphic critique of Artaud through the letter R and syllable TR (LeTTRe, Être, AuTRe, ÊTRETÉ) against the "false be-ness" of ordinary logic. The dimensions of Dasein (being-there) reveal themselves as a fundamental ontological axis across a tripartite cycle of being (Dasein I), being-with (Dasein II), and being-together (Dasein III). During those same years, a thematic bridge was created toward her integrations of the blues, understood as an evolutionary and essential extension of deep vocal expression and human existence.

Author of breakthrough musicological texts—including Il dialogo con la materia disintegrata e ricomposta, an analytical study of Berio’s Thema (Omaggio a Joyce) and Ascenseur pour l'échafaud, Il luogo della musica nell'audiovisione—she lived and operated stably between Milan and Berlin before transferring her production infrastructure to the United States, in Miami (Florida), in 2018. From here, through the foundation of the live music venue project Jadys Daniele's and the direction of RDM Records, she guides the transoceanic expansion of the label toward new multidisciplinary territories, coordinating the recent '2026 Official Label Editions' and the development of the Electroacoustic Research Hub, a theoretical and project cornerstone internal to Electroacoustics Magazine and to the editorial project Arti & Tecnologie (Arts & Technologies).

[Photos 1-4 are from 2006-2008, by Matteo Nieddu. All the following photos spanning between the years are RDM Records photos].

From the Press and Critics

Essays and Interviews (2026)

CanvasRebel Magazine: An in-depth interview exploring the integration of performance, vocal art, and sound philosophy underlying the catalog and trajectory of RDM Records. Romina Daniele discusses creative autonomy, the concept behind SHEEN, and the developmental guidelines for the upcoming project The Echoes of Usher.
Electroacoustics Magazine: Following the recent series of research for the journal and the formal expansion of the RDM Records Research Hub, recent critical essays and theoretical writings formalize new milestones of investigation linked to the relaunch of the editorial wing for the Arti e Tecnologie (Arts and Technologies) series. The studies include The Resonance of the «Déjà-Là» (an analysis of the correspondences between Chion and the electroacoustic imperative), The Ghost in the Garden (a media archaeology critique applied to the Miami Beach SoundScape Park), and The Digital Cadaver (a semiotic critique and cinematographic analysis applied to Loving Vincent).

From the Historical Archive

Rockerilla (M. Marchini): «The declension of the voice, of sound, of the phoné is rendered with such dedication and purity that it literally takes your breath away.»

Blow Up (D. Capuano): «Romina Daniele highlights not only vocal gifts, power, and versatility, but a remarkable talent in interpreting the very meaning of music.»

Archivio Storico (M. Massimi): «A special repertoire and an expressive voice that, when it gets inside you, inevitably possesses you.»

A. Arena: «One finds oneself immersed in a text-voice-music spiral that forces us to reckon with ourselves... a sound that captures and carves shivers down the spine.» L. Rapetti: «Romina flays the skin of emotions, reaching the raw flesh, destabilizing the listener.»

Detailed Chronological Biography

1980: Born in Naples, Italy. This marks the beginning of an evolutionary path through which Romina Daniele would establish herself as a prominent Italian composer of electronic and experimental music, an extended techniques vocalist, a performer, and a theoretical writer, eventually expanding her recent work into fine art photography and blues singing.
1987–1993: She begins her early artistic journey with classical dance lessons, cultivating a foundational discipline toward body, movement, and performance.
1993–2000: Transitioning into formal musical training, she takes classical guitar lessons under the guidance of composer Antonio Sozio, immersing herself in the core principles of instrumentation, harmony, and composition.
1995–2005: During this highly formative decade, she completes her classical studies and remains constantly involved with literature investigative processes. Expanding her creative horizons, she devotes herself deeply to poetry, the writing of short stories ("tales") and songs, fine art painting, and photography. This extensive cross-disciplinary immersion solidifies her permanent worldview: that all her work is profoundly bonded with the true meaning of philosophy, which in her experience completely converges and identifies with the act of making art.
1997: Advancing her academic musical credentials, she earns her formal Diploma in Solfeggio, musical theory, and dictation.
1998–2005: Paralleling her creative practices, she engages in rigorous studies in the history and methodology of art, art criticism, history of art, aesthetics, architecture, and the theory and history of photography at the Suor Orsola Benincasa University of Naples—intellectual areas of inquiry that she continues to study and research for her entire life.
2000–2003: She refines her vocal mechanism and technical foundation through dedicated singing lessons with Auli Kokko.
2000–2005: This period marks the formal beginning of her specialized sound research, as she investigates the physical and philosophical boundaries of vocalism alongside electronic architectures, devoting herself to the exhaustive study and research of vocal production capabilities (which would form the direct baseline for Diffrazioni Sonore). Since 2000, she has also collaborated with ensembles of various kinds (spanning blues, jazz, experimental, and contemporary music).

Artistic Trajectory and Philosophical Foundation

Romina Daniele (b. 1980, Naples, IT) is an avant-garde vocalist, composer, performer, photographic artist, and theoretical writer whose multidisciplinary output operates at the intersection of electronic music, sound research, and deep philosophical investigation. Widely recognized for her rigorous exploration of extended vocal techniques and electroacoustic paradigms, her oeuvre positions the human voice as a visceral manifestation of the most intimate, and original, juncture between body and thought—the definitive cornerstone where sound and intellect converge, within the conception of art as a source of knowledge. Grounded in an advanced academic foundation with Master's degrees in both Cinema and Electronic Music/New Technologies, her breakthrough musicological texts establish an analytical framework for the structural relationship between sound and image, pioneering deep theoretical research into the philosophy of audiovision. Her entire production responds to an electroacoustic imperative within music, languages, and theoretical research, wherein the work created and composed with new technologies responds directly to the historically still-young responsibility of studying the interdisciplinary nature of sound, thus emancipated, in relation to its values of epistemological signification.

Her specialized sound research began around 2000, investigating the physical and philosophical boundaries of vocalism alongside electronic architectures. This foundational period culminated in her debut compositional project, Diffrazioni Sonore (released in 2010 via RDM Records), which earned her the prestigious Demetrio Stratos International Prize for Musical Experimentation in 2005 for best emerging project. Her methodology focuses on the relationship between construction and deconstruction, composition and improvisation: not limiting herself to traditional text deconstruction, she challenges and utilizes a multitude of languages and nomenclatures, starting from undifferentiated vocal sounds (with or without words) to compose directly through technological devices, building concrete sonic architectures. Her earliest creative and compositional blocks, Diffrazioni Sonore and Aisthànomai, il Dramma della Coscienza (2008), were built upon a wide-open network of post-structuralist foundations (Gilles Deleuze, Roland Barthes, Pier Paolo Pasolini), with each project supported by a theoretical line text written by Daniele. This process relies on an adherence to and translation of a philosophical indifferentiation of grammars that filters all linguistic and sonic codes into the ontological plane of original matter, short of obsolete musicological and cultural walls.

2005: Her professional solo artist career officially starts in Italy with the production of Diffrazioni Sonore, a complex album project focused on the relationship between improvisation by extended vocal techniques and construction by new compositional technologies published in the 2010 by RDM Records. In November of this year, her radical research earns her the prestigious Demetrio Stratos International Award for Musical Experimentation for the emerging artist's best project (2005 Edition, theme: “vocalism and research”). She receives the award at the MEI in Faenza (Ravenna), a milestone that formally inaugurates the presentation of her work and research at a long series of major national and international festivals—including Arezzo Wave, Electronika, Aterforum, 5 Giornate per la Nuova Musica, Intermidia Festival, Silence, Celebrazione, Salone Internazionale del Libro, and the London Hoxton Festival.
2006–2007: Building on her award-winning momentum, she devotes herself extensively to the continuous study and research of vocal production capabilities and begins composing her second record, Aisthànomai, il Dramma della Coscienza. Concurrently, she channels her findings into educational spheres, carrying out laboratory activities, experimental vocal laboratories, and individual lessons, mostly operating within the Milan area through 2010, which includes instructional work at the Crams School of Music.
2006 (July): She performs live at the Arezzo Wave Love Festival, a high-profile appearance presented and highlighted by Insound magazine.
2007 (March): She takes part in the Electronika Festival, an avant-garde gathering promoted by the Fondazione MM&T of Milan.
2007 (June): During the ATERFORUM Festival in Ferrara, she participates in the milestone events of the second edition of the Demetrio Stratos Award, staged in conjunction with the presentation of the Career Award to vocal pioneer Meredith Monk.
2008: This milestone year marks her graduation Cum Laude (with honors) in Cinema, achieving the first of her two master’s degrees. Written under the supervision of Professor Augusto Sainati, her thesis—titled Il luogo della musica nell'audiovisione—delves deeply into the structural relation between sound (specifically the music of Miles Davis) and images (the cinema of Louis Malle). Concurrently, she releases her second landmark record, Aisthànomai, il Dramma della Coscienza (CD, 2008), for voice and electronics, a radical work in which sound research and sonic composition stand as the defining elements within both the fields of vocalism and electronic music. In March, she presents her vocal research at the "Milano: 5 Giornate per la Nuova Musica" festival, and in April, she takes her vocal research internationally to the Intermidia Festival in Banská Bystrica and Žilina (Slovakia).
2008–2012: To further ground her practice in new mediums, she studies New Technologies and Music (Electronic Music) at the Milan Conservatory, extensively researching technologies applied to art, sound technology, and multimedia to earn her second master’s degree, while continuing her philosophycall investigation and starting writing around the Electroacoustics Imperative within the Arti & Tecnologie (Arts & Technologies) editorial project. Studying at the Conservatory, she also supplements her education by attending numerous international workshops and seminars, among which can be mentioned those of Meredith Monk, Trevor Wishart, David Moss, and Annette Vande Gorne.
2009: In March, she returns to present her vocal research at the "Milano: 5 Giornate per la Nuova Musica" festival. Simultaneously, she begins working on her book Solo Voice, essay on the vocal discourse—a text that she has been developing since 2009 and has now become an epistemological essay of more than 1,000 pages, a lifetime achievement comparable to Marcel Proust's masterwork.
2010: This pivotal year marks the consolidation of her output through a permanent collaboration with the book and music publishing label RDM Records, making her entire catalog globally available within the RDM Records Catalog at RdmRecords.com. Under this banner, her debut project Diffrazioni Sonore is officially published on CD, alongside her collected poems Poesie 1995-2005 (e-book/printed book; an Italian and English bilingual Edition), and her landmark essays Il dialogo con la materia disintegrata e ricomposta, un'analisi di Thema (Omaggio a Joyce) di Luciano Berio and the book edition of Il luogo della musica nell'audiovisione (e-book/printed books, Italian). Concurrently, she establishes the bond of an ongoing "Berlin project", a wide-open, long-term multimedia project still in progress, after which she enters the photography field deeper and deeper. She takes a flat in Berlin, living and operating between Berlin and Milan from 2010 until 2016. In her live activities, she works on live electronics with silent cinema as part of the Riccardo Sinigaglia ensemble at the Milan Conservatory (Concerti del Chiostro). Representing the Conservatorio di Milano, she is named one of the eight finalists at the Premio Nazionale delle Arti (National Arts Award) for Electronic Music and New Technologieswith her composition La Prova, taken from Aisthànomai, il Dramma della Coscienza. 2010–2011: She works intensively on the composition and production of her third record, Spannung, while continuing to develop the text of her essay Voce Sola (Solo Voice).
2011: Representing the Conservatorio di Milano, she ranks once again among the finalists at the Premio Nazionale delle Arti (Arts National Award) for Electronic Music and New Technologies with her unpublished composition La Natura Assente (to be published with her third record). In September, she wins the Arci Award for Musical Experimentation (promoted by Centro Musica Contemporanea in collaboration with Arci), presenting her new work in progress at the SuperSound Festival in Faenza. In November, she collaborates with Sheen for the publication of the single Absence I.
2012: This year marks the release of the official art videos Resonance and Dasein I.I., audiovisual works that open a channel of filmic investigation and applied art directly connected to the philosophical and compositional nodes of her research. On the performance level, the composition La Natura Assente is presented in January at the Silence International Festival of Acousmatic Music in Bari, while in April she participates in a major spatialized acousmatic music performance at the San Fedele Auditorium (Milan)through the 50-speaker Acousmonium SATOR. In October, she continues the live sound accompaniment of silent cinema alongside Rossella Spinosa at the Spazio Oberdan, and between May and September she presents her theoretical and musical works at the Salone Internazionale del Libro (Torino), Celebrazione festival, and the London Hoxton Festival.
2013 (April): She outlines her deep artistic and musical philosophy connecting avant-garde research and traditional roots to the Italian Press, stating: «to bring back and bring up that unique and originary strength, passion and pain, today forgotten especially in Europe; that is one thing with my deeper work» (Romina Daniele, Il Giornale, April 2013, Italian Press).
2013 (May–June): In the middle of 2013, she officially founds the blues band with which she mainly pays homage to the greatest women of rhythm and blues. Performing since May 2013 all over the Milan area and continuing through 2015 as a lead singer, she frames this activity as an essential extension of her deep vocal expression and human existence. In June, her new composition La Natura Assente (II) is streamed and performed for the very first time on the 54-speaker Acusmonium Audior by Dante Tanzi and Eraldo Bocca at the Visconteo-Sforzesco Castle in Galliate (Novara), within the festival "Chitarre ed altre corde". 2013 (December): She appears on One TV for the music show Kalliope, hosted by Marco Ciapparelli, performing a live set with her blues trio.
2014 (January): She streams a live performance with her band from Rock and Roll Radio, recording a video podcast. In April, the label Ops/Akusma/AUDIOR publishes the compilation by various authors Chitarra ed Altre Corde, an official release that collects and documents on disc the tracks performed live during the festival evening at the Castle of Galliate in 2013, including the track La Natura Assente (II) by Romina Daniele. In August, she participates in the summer festival Angoli Musicali in Bibbiena (Arezzo), a context in which she releases important theoretical-programmatic statements on the originary importance and visceral value of the blues voice, conceived in deep and indissoluble structural connection with avant-garde research.
2013–2015: She remains highly active in the Blues scene, performing live concerts all over the Milan area.
2015: She continues working on her new record Spannung, which is officially released on December 24th, concluding her six-year residency split between her flat in Berlin and Milan. The project—comprising 3 discs, 31 tracks, and a 36-page booklet—confronts the existential philosophy of Martin Heidegger to discover the dimensions of Dasein as a fundamental ontological axis.
2016–2018: Romina continues to work on literary production and composition, staying inspired and travelling extensively between Europe and America. With the arrival of her daughter, Romina Jadys Daniele, who was born at the end of 2016, they transition their life and operations to Miami, Florida. In 2018, the historical and artistic relevance of her work is institutionalized and included in the encyclopedic volume Rock Progressivo Italiano. 1980-2013 by critic and essayist Massimo Salari (published by Arcana Editrice). In the same 2018, Lorenzo Marranini and her found the live music project and platform Jadys Daniele's (JadysDanieles.com), named after their daughter, where she performs every week, continuing to work with RDM Records music production to promote and enshrine the true meaning of doing art. This strategic relocation of her activities from Milan to Miami (USA) allows RDM Records to consolidate operations with Jadys Daniele's, moving its music production infrastructure from Italy to the United States and establishing a new production core in Florida. 2019: She acts as the owner and managing director for the entire 2019 concert season of Jadys Daniele's in Miami, performing live sets at the venue every week.
2020–2023: Following the mandatory pandemic break (2020/2021), RDM Records deepens its bond with Jadys Daniele's in music production. Daniele continues working on her multimedia and philosophical research, expanding widely into mediums such as writings, videos, and fine art photography production, while developing new compositional and singing projects during this period.
2021: The track Vero (originally included in the debut album Diffrazioni Sonore) is published in the prestigious compilation Approdi III, curated and published by the label Konsequenz under the direction of the well-known composer and critic Girolamo De Simone. In this same institutional context, De Simone pays a fundamental critical tribute to Romina Daniele's work, including the triple album Spannung in the historical selection of "resistant records" on the newspaper Il Manifesto, of the decade 2010-2020, consecrating its aesthetic permanence and intellectual value in the history of contemporary music.
2024–2026 (Current Direction): Following a period of continued theoretical research, Romina Daniele spearheads the cross-ocean expansion of RDM Records, centralizing the label’s infrastructure in Miami, Florida, and establishing a unified cross-ocean era for her work. In May 2026, she concludes a seminal series of critical essays and film analyses for Electroacoustics Magazine—including The Ghost in the Garden (a critique of media archaeology applied to the Miami Beach SoundScape Park) and The Digital Cadaver (a semiotic critique and cinematographic analysis applied to Loving Vincent)—ensuring that her rigorous academic research directly informs her upcoming musical releases. This period marks the formal relaunch of the Electroacoustic Research Hub for sound architecture and scientific-philosophical inquiry, alongside the inauguration of the '2026 Official Label Editions', a prestigious archival series serving as the foundation for new territories of production and the ongoing evolution of her vocal and compositional language. Upcoming works include the evolution of the "Usher"project (The Echoes of Usher), the vocal research and text scores for Sheen's 'Absence' (Definitive Edition 2026), and new archival milestones.

CURRENT ARCHIVAL PROJECTS // Romina Daniele’s vocal research and text scores on Sheen's 'Absence' (2026 Definitive Edition) are now live. View the official cinematic promo trailer and technical press sheets at RDM Records.

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2019 • CONCERTS SEASON • MIAMI BEACH FL

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Out December 25th 2015

Spannung by Romina Daniele is a triple cd audio, with 31 tracks, 36 pages booklet, 3 hours of music, between Electronics and vocal and music experimentation, live studio sessions in solo and with the band.

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ALL ARTISTIC WORKS, THEORETICAL ESSAYS, AND AUDIO-VISUAL MATERIALS ARE THE EXCLUSIVE INTELLECTUAL PROPERTY OF THE AUTHOR. PLUGINS AND CONTACT FORMS COLLECT MINIMAL DATA FOR SECURE, DIRECT CORRESPONDENCE ONLY. AS AN INDEPENDENT INSTITUTIONAL PLATFORM DEDICATED TO PURE PHENOMENOLOGICAL, VOCAL, AND SONIC RESEARCH, THIS ARTISTIC ENTITY MAINTAINS A STRICT POLICY OF COMPLETE DETACHMENT FROM ALL FORMS OF BLASPHEMY, EXPLICIT THEMES, OR PROFANE PERFORMANCES, SYSTEMATICALLY EXCLUDING THEM FROM ITS CATALOG AND SCOPE.