Sicilian multi-instrumentalist and producer Gioele Valenti is the mastermind behind JuJu. Described by Valenti as his "true soul", JuJu emits a sound that’s complex in its musical layering and challenging to define; much like the mystifying nature of the human soul that Valenti aptly parallels his music to.

By channelling "sacred feminine" energies and "unconscious abilities", JuJu urges their audience to let go of the present and revel in an altered state. Valenti creates music that skilfully fuses psychedelic rock, shoegaze and dark-wave with moments of post-punk, synthpop and ritualistic rhythms to entrance the listener into his mystical soundscapes; within which we’re contentedly entrapped. His authentic exploration and integration of multiple genres creates an unapologetically unique style that no doubt reflects his involvement in the psychedelic Lay Llamas and folktronic Herself. With major influences noted as far and wide as ‘Kiss and Mozart, Morricone and Joy Division, Bart Bacharach and Sepultura’, JuJu’s sound really does encompass all that is both booming and beautiful. Here is an artist who categorically doesn’t believe in stylistic boundaries to self-expression.

La Que Sabe is JuJu’s fourth album and will be released 22 October 2021 via Weird Beard Records. The album title translates to ‘She Who Knows’ or ‘The Great Mother’ and conveys both the imagery and ethic of the interconnectedness of the land, the sea and the universe. The album cover echoes this and shows an illustration of a Kāpālika - a monk belonging to an ancient sect devoted to the Hindu god Shiva who were recognisable through their skull-topped tridents. The name JuJu itself derives from juju, a form of African folk magic involving enchantments and totems used in religious practice. The amalgamation of all of these intriguing points of inspiration warmly invites the listener to understand the artist. Valenti shares with us an appreciation for another alternative time and place that emphasises spirituality and collectivity. This essence and conscience is reflected in JuJu’s music that creates a portal through which we are encouraged to imagine again as noncompliant adults. La Que Sabe reminds us of the universal pull to music and sound. 

You have an ever-growing catalogue of music across multiple bands and projects, but could you tell us a little about your background? Who are you? And, who is JuJu?

I consider myself a writer. 

I have a folk music project, which is called Herself, initially produced by the label of a famous Italian band, Verdena. On the latest album, I host Mercury Rev's singer Jonathan Donahue. I am also part of the Lay Llamas, whose founder, Nicola Giunta, occasionally asks me to write a record together.

JuJu is my latest project; pagan psychedelic rock with dark wave influences. After 3 records with Fuzz Club, I am now going to release a new one. If the projects I have mentioned before are my heart and stomach, JuJu is my true soul.

Where are you currently based? I’m aware that you’re Sicilian, what’s the music scene like in Sicily?

Yes, I'm Sicilian. I don't think that for Sicily we can speak of a scene, in the sense of a well-defined and codified aesthetic figure. I mean, there is no Sicilian ‘sound’... but there are a lot of interesting realities. Sicily has always been a crossroads of influences, cultures, identities and food. A melange with one foot in a volcano and the other in the deep sea of timeless beauty.

Juju is the title of Siouxsie and The Banshees’ 1981 album but I also read that juju is the practice of African folk magic. Did either of these things inspire your artist title?

Of course, I know the Siouxsie record. But the name derives from the African tradition of soil magic and enchanting arts. I think Africa is the key to understanding the history of humanity and the world's geopolitical assets. In Africa, the Time of Dream meets the true ferocity and beauty of human nature. 

JuJu’s sound is completely genre-defying. Who are your greatest musical influences? How do those influences combine to assist the creation of your unique sound?

I have never believed in categorisations. I firmly believe that beauty goes beyond categories. I have always thought that an aesthetic option overrides the political one. I grew up listening to Kiss and Mozart, Morricone and Joy Division, Bart Bacharach and Sepultura. When God decides whether to cry or laugh, then I will define my artistic boundaries more clearly. It comes naturally to me to channel my listening to something personal and unique.

As already mentioned, you’ve been involved in various projects including the folkloric Herself and otherworldly psychedelic Lay Llamas. Can you explain what happens as an artist when you choose to reinvent your sound and pursue a new project?

It's like playing a role or imagining a character. You must let the ego go and let ancient forces speak through your voice which transcend your own experience. Acting is in my opinion the most sincere way of describing reality.

How do you approach the writing process when so many complex genres are integrated into your overall sound?

From my point of view, the cornerstone of complexity is linearity. I often start with a riff. Sometimes from a mantra that I chant in my head. There is no rule. But everything happens smoothly and naturally.

It seems that in all of your musical incarnations, there are hints towards a kind of spirituality through rousing rhythms and lyrical themes. What are your thoughts on that?

I think your description is very appropriate. Rhythm is a bridge by which you can join an altered state.

I also hear a lot of world and ethnic influences in the music you make. Have you travelled much? And, if so, have the places you’ve travelled to inspired your creativity?

I traveled a lot, sure. But I always like to remember what Franz Kafka said: "You don't need to leave your verse. Sit at the table and listen. Never listen, just wait. Don't wait or stand still in solitude. The world will spontaneously offer to you to be unmasked. He has no choice. It will roll in ecstasy at your feet".

Your last album Maps and Territory (2019) is powerfully neo-psychedelic and draws influences from Mediterranean folk and ethnic ritual beats. Your forthcoming album La Que Sabe diverges from this and refines that sound further to journey down a more synth heavy dark-wave sound. What was the cause of this musical evolution?

I wanted to make a record with the influences of a music that no longer exists. I wanted Swans, The Cult, Joy Division, Billy Idol and Popol Vuh to sing one more time before the times swallowed them up forever.

The first single ‘Not This Time’ from La Que Sabe begins with the haunting giggle of a young girl and barrels into guitars, drums and synth. It’s a masterful blend of psych rock, shoegaze and dark-wave that establishes the atmosphere of the album that ends with ‘Beautiful Mother’ - a shamanic jam that transports you into a dreamlike state. Is there an overall message or journey to the album?

The record is a joyful hymn to the sacred feminine and unconscious abilities, which come out when the male mind is knocked out. Amazement and wonder when the thought machine stops.

What message do you hope to convey through your music?

The universe has no rules, only habits. And habits can be changed.

Article by Meg Sweeney originally written for Bad Luck Magazine.