CD: 68bpm 001 Time: 41:26
Website: http://drummassage.com/ (Purchase option links at website will be “live” as of 4/28/15)
Tracks: Chimes (Intro), 68BPM, Interlude, Rolls, Heartbeat I, Chimes Coda, Heartbeat II
Performed by Phil Didlake, Leah Gramsjohnson, Isabella Iatarola, Tessa Kaslewicz, Ben Meyers, Clara Natonabah and Steve Wilkes, with support from the Berklee College of Music. Field recordings from the Hear Cape Cod project
Something a bit different from our standard music review…what is known as “functional music.”
Whether by means of self-hypnosis, meditation (such as TM) or other approaches, there is a point where the body and mind can achieve a surprising state of awareness in the midst of a deep calm. Along with others, Dr. Herbert Benson used the term The Relaxation Response to describe a multi-step process for achieving this state. One method to assist with relaxation is by using various forms of music. I can attest anecdotally to the healing and calming powers of certain forms of music.
The Drummassage album is an outgrowth of a project started by Steve Wilkes (a faculty member at the Berklee College of Music in Boston, Massachusetts). Some may recall that Steve Wilkes and Ginny Fordham brought us their Hear Cape Cod project in 2013, a set of field recordings accompanied with remixes by many well-known ambient and experimental musicians as well as a companion album of songs inspired by Cape Cod (another in that series will be released later in 2015).
Drummassage started as an informal gathering and exploration of the possible healing and calming power of drums and drumming at Wilkes’s Berklee studio (an aside: Berklee offers various degrees and concentrations in music therapy). As work advanced on the project and became better known, performances were held at venues around the Berklee community for larger groups with participants placed within drum circles along with the percussionists. Native American drums made with indigenous woods of various types in Wilkes’s collection are used in these recordings. Instrumentation is all-acoustic, and the performances include quiet repetitive and low frequency rhythms with occasional counterpoint from other ambient percussion.
This first recording is in stereo (two channel) with the ultimate goal to produce additional recordings using surround-sound 5.1 mixes to more accurately replicate the experience of participating in the actual performances and therapy sessions. The stereo version is quite effective and Wilkes recommends using either a high quality audio system or headphones to obtain the best sonic results.
Since I have experience with inducing the relaxation response from having practiced self-hypnosis for many years (although not nearly as often as I should!), I can confirm that this stereo recording is quite effective. Often, I found the greatest relaxation being achieved (surprisingly) during the more active rhythm sections. Frequently, I lost a sense of time and either drifted to a deeper meditative state, off to sleep (which is permitted!) or found myself relating visual memories to the sounds during to the interludes (which have field recording excerpts).
The CD has a brief spoken-word introduction mixed with resonant wind chimes. There are three sections (68BPM, Heartbeat I and Heartbeat II) of extended slow muted trance-inducing rhythmic drumming (these will be especially effective if the listener’s sound system also includes a sub-woofer). Interlude is a brief rain shower with thunder, followed by Rolls, a series of building thundering washes (reminiscent of a passing storm). Outdoor sounds (chirping evening insects) return just before Heartbeat I begins.
Heartbeat I builds slowly, first a simple three beats and rest, then a layer of triplets is added to create a pulsing that is later supplemented with what sounds like rain-sticks before diminishing to the straight beat. The last interlude, Chimes Coda passes through with a gentle mix of environmental recordings. The final session, Heartbeat II, reintroduces the foundational three beat and rest pattern, which transforms again into a series of three triplets and a diddle (percussion rudiment term, two struck notes in succession instead of three). Periodically shaken percussion is added. For those who haven’t intentionally tried to induce a relaxation response before, it’s quite an unexpectedly pleasurable and invigorating experience (and can be habit-forming too). It can also improve one’s sense of awareness following a session.
There will be a CD release event and performance at 7PM on April 28, 2015 at The Red Room @ 939, in Boston, Massachusetts located at 939 Boylston Street.
This is a solicited review.
Eilean Rec 88 CD Time: 40:53
More on Twigs & Yarn: http://www.twigsandyarn.net/
Tracks: Hibernate, Sonora, Channeling, Cave Bears, In the Valley, Lend a Hand, Laelaps, Floes
Lauren McMurray and Stephen Orsak are Twigs & Yarn, and on their previous album (The Language of Flowers, my favorite album of 2012), the duo created it over a great distance (between Japan and Texas). Their work presses all the right buttons for me: it’s inventive, tender, melodic, and at times unexpected. T&Y takes me on a new journey every time I listen, yet there’s an inexplicable familiarity that I find comforting. There is also a curious child-like quality of discovery in the music.
On April 5th, 2015, Twigs & Yarn did a live segment on KOOP Radio in Austin, Texas that was (thankfully) streamed over the internet, and T&Y noted they hope to release another album later in 2015. I will link to the recording of the program if it is posted by KOOP (EDIT: Here is the link to the entire program: https://www.mixcloud.com/fadetoyellow/episode-164-fade-to-yellow-still-forms-drift/).
Over the course of their new album, Still Forms Drift I wonder if there is an intentional arc of how the pieces were developed. I detect that the tracks move from more melodic to experimental, and from rhythmic to more atmospheric and subdued, so there is a nice combination of moods and progression on the album.
A layered sonorous hum opens and eases the listener into Hibernate; sounds eddy between the channels (headphone or speakers). The music builds gradually and blends into a delicate yet immersive fabric where voices and distant cloaked sounds are revealed. Sonora is absolute magic—so romantic, delicately rhythmic, playful and with a hint of some of Raymond Scott’s electronic experiments of the 1950s and 60s. As it progresses, there is increasing comfort, dissolving enmeshed sound, then melodic humming. Exploring the layers, with repeated listens is like a treasure hunt, but then just listen again and disappear into it. It’s like a tender and pleasurable whisper during a dream.
Channeling moves to the outdoors, contemplating with the fauna and environs, then dissolving into a trance of gentle guitar, voices and comforting pulses. Gradually, the reverie subsides and a gentle reality emerges. Cave Bears opens a bit like an antique bell-chime clock, steady and somewhat glitchy. Beats, shifted repeating sounds and guitar harmonics are added and the rhythm slows. In The Valley is another memory of place, although more ambient and disconnected compared to Channeling. There is a slight grittiness to it as it progresses, with sounds that are less tangible, as in the edge of a dream. Lend a Hand is a song with two different parallel veiled spirits; an expression of yearning that moves in and out of focus…one voice moves to the distance, but then returns; as if eavesdropping on a one-sided conversation weaving in and out of gentle waves of guitar and entwined low resonant hums…a slowly rocking boat in the doldrums.
Perhaps the most meditative (and curiously metallic) of the pieces is Laelaps. I speculate that it’s an evening of lying on the ground outdoors with gazes cast to the sky in contemplation. If I have my Greek mythology correct, it was Zeus who cast the dog Laelaps into the stars as Canis Major in pursuit of the Teumessian fox, Canis Minor. With a largo of synthetic electronic sounds and somewhat compressed voices Floes closes the album with hints of a lullaby reminiscent of a well-worn music box.
There is so much wonderful in this album, and I was instantly smitten.
This is a solicited review.
Label: InsideOut Music: Two Clear Vinyl LPs (with CD IOMSECD 417)
Time: About 65 minutes with bonus material (Other formats available)
LP 1: Side 1: Out of Body, Wolflight, Love Song to a Vampire; Side 2: The Wheel’s Turning, Corycian Fire, Earthshine, Loving Sea
LP 2: Side 1: Black Thunder, Dust and Dreams, Heart Song; Side 2: (Extra Tracks) Pneuma, Midnight Sun (with Todmobile), Caress (on LP 2, but not the enclosed CD)
After a pair of tremendously successful Genesis Revisited tours in Europe, UK, Japan and the US (with many sold out concerts and shows added due to demand), I’m thrilled that Steve Hackett is back again creating new music. He did the historic material from his Genesis era a worthy justice, clearly an important part of his life (and heck, mine too) and career, and some of that material will always be part of his live shows, but clearly it was time to move on to new things.
I was fortunate to have a chance to hear a preview of Wolflight in Steve Hackett’s studio in the autumn of 2014 and my immediate impression then was that the music is incredibly cinematic—vibrant sound and images in the tales unfolding in the music, whether vocal or instrumental. The music is drawn from experiences, places visited, dreams, nightmares, ancient history and inspired by love. I sense that there is still even a bit of delicately blended (and not yet completely written) autobiographical experiences.
Wolflight is an album of contrasts, from broad filmic passages, some briefly anthemic, to moments of delicate beauty. There is no formula being rehashed from his earlier work, but some elements that are pleasantly familiar are mixed with the inventiveness and varied regional instrumentation that I have come to appreciate in Hackett’s work throughout his oeuvre. Steve’s primary collaborators continue to be keyboardist Roger King and his wife Jo Hackett, along with live show bandmates and production team: Gary O’Toole, Rob Townsend, Nick Beggs, Amanda Lehmann, Benedict Fenner and others.
Out of Body is the eerie wolf-howl call and then energetic overture to the album, a brief taste of what’s to come. Title track, Wolflight opens gently, setting a scene of calm, but the challenges of the tale are expressed in orchestral and sharp-edged guitar solos in contrast with the acoustic twelve-string verses—a powerful title track that has proven to adhere well in my memory, despite the complexity of the piece. In addition to the contrast of sound there is also the irony of subject—that of pleasure in pain and the attraction of potential danger, which is the exploration of Love Song to a Vampire with Hackett’s hushed verses (almost a lullaby), powerful refrains and soulful peregrinations on his Les Paul guitar.
The Wheel’s Turning revisits some of the sights and sounds of works as far back as the album Please Don’t Touch—carnivals of inspiration and a bit of time-travel (with shades of his Squackett collaboration with Chris Squire in the marvelous song from the album A Life Within a Day, Divided Self). At first there’s the basic song then orchestral moves to a devilish romp with a brief homage to The Air Conditioned Nightmare (from the album Cured) and then his album Blues With a Feeling before returning to strains of Bach and the memory of that distant carnival. Creating a strong sense of place, Corycian Fire, after a gentle opening, Hackett uses his highly processed vocals like an instrument to accompany the orchestral, choral and regional instruments in exploring the history of an ancient underworld, which has some similarities to his earlier and less adorned instrumental Steppes (from the album Defector for those who have listened since the early days). Earthshine and Loving Sea are a respite from the album’s vigorous beginnings (an intermission similar to the days of changing a film reel in a theater). Earthshine, a classical guitar fantasy merges into the joyful twelve-string and vocal harmonies of Loving Sea, sailing freely.
Black Thunder rumbles with raw emotion; part history and part social commentary on slavery and civil rights struggles of Martin Luther King with an homage (in the liner notes) to Richie Havens (and his well-known song Freedom) who worked with Hackett on his second solo album. Dust and Dreams is at first a vamp of languid movements and drifting mirages that adds layers and builds to portray scenes of divergent impressions and ultimately it’s resolved in a returning to the comfort of Heart Song, dedicated to Hackett’s wife and creative partner Jo.
The bonus material on side 4 of the LPs (two solo guitar tracks on either side of a collaboration with the Icelandic band Todmobile) fits quite well with the overall album. Pneuma (translates as breath, soul and spirit) is a subdued rumination, a calming re-centering of sorts. Midnight Sun is powerful, melodic and pleasing in its chord structure and rhythms. Caress gently closes the album (which is on the LP, but not the CD).
Despite the sharp contrasts in the instrumentation and sources of inspiration, Wolflight is a very cohesive album, which upon a few listens will become deeply and solidly embedded in the canon of Hackett’s work. The Steve Hackett Band will be celebrating his 40 year solo career with a tour in 2015, Acolyte to Wolflight. I hope to attend a show (but tickets sell quickly!) and I urge readers to get tickets to a show, which will certainly be quite a visual and aural experience, as all of Steve Hackett’s concerts have been since the late 1970s.
Seeing John Edginton’s recent documentary Genesis: Sum of the Parts, one might be left with the impression that after Steve Hackett left Genesis in 1977 he went on to do a few minor projects and then disappeared into the ether. On the contrary, after his highly innovative work with Genesis during the tremendously creative period from 1971 to 1977, Hackett has had a varied and successful solo career of nearly 40 years with as many albums, including some well-known collaborations, songs in international charts (Wolflight is in the UK charts, as I write this), and a faithful legion of fans who are spreading his work to a new generation of listeners.
If anything, Steve Hackett is more vital and relevant than ever with new-found and ever-growing energy that belies the span of his career—continuing to blaze new frontiers in music and live shows.
Tench – TCH-07 CD: About 35 Minutes
Label and Information: http://www.tenchrec.com/TCH07.html
Tracks: Stasis, Division, Hang, Counterpoise, New Lights, Congruence, Inertia, Parity
I read something recently by a musician whose work I admire about disconnecting from modern life, even for a short while, and in the time away a sense of one’s true self may return, even briefly. During that time, relationships with others might even improve. The mystic writer of the Victorian era, Richard Jefferies also wrote of this in some of his essays in the latter part of the 19th century. The pace of what I call life’s ‘carousel’ is sometimes so dizzying, and at those moments, no matter what beckons it’s often time to get away and seek a refuge. Personally, my quickest solution is to go for a walk in the woods, or even local streets away from the din in the mind or work at the desk.
M. Ostermeier’s new CD Still offers a cleansing respite with both passive and active listening. It took a few tries (first while doing other things and then sitting and focusing on the music) to condition myself, but by the time of the third audition, I was tuned-in. Most of the pieces have a piano-dominant center, the primary melody or phrases, and there are sonic backdrops delicately stitched in which complement a given theme. The melodic arrangement is often more akin to Far Eastern rather than Western musical structure, but it isn’t always the case. There is no ominous darkness here, only soft and gentle light. In fact, Stasis opens the album as if the Sun is rising and shadows can be observed to course slowly across the camera obscura of the imagination.
From what I recall of M. Ostermeier’s splendid last album, The Rules of Another Small World, this work seems more focused on acoustic instrumentation with electronics and sampled sounds taking a more secondary role. The album is largely a preservation of the quietude, but there are moments as in Counterpoise, the only marginally forceful piece on the album, where after attention is grabbed it turns into an almost gentle pattering massage, which is eased with a slightly distant piano and other microtones. The fabric of Congruence is gently percussive, reminiscent of dampened marimbas. The CD closes at its most broadly sonorous and harmonic in Parity, with only a hint of foreboding, yet thankfully, no sudden dose of reality.
As is often the case with meditation or self-hypnosis, one loses a sense of time, after entering into a state of deep relaxation. What the clock tells us is a half an hour feels as if it’s only moments, not easily parted from, but wanting to return–like a dream one doesn’t want to end. It’s often difficult to find time to escape to a quiet forest, lake or one’s favorite place for truly as long as is needed, so in lieu of that disappear into some contemplation and take time to think, reflect and be Still.
Yes, I’m guilty. I haven’t written many reviews of late–no other excuse except that there are many other things going on (not to mention a really rough winter), but here’s some of what I’ve been listening to, and I will also soon be writing a review of a forthcoming album on the Eilean label by Twigs & Yarn (some may recall that their The Language of Flowers on the Flau label was my favorite album of 2012). I recommend any of these albums.
A Winged Victory for the Sullen – ATOMOS: Kranky 190: I want to really like this album, but I struggle with some sections. I instantly loved their eponymous first release, but I continue to listen.
Steven Wilson – Hand. Cannot. Erase.: KScope 315: Follow-up to The Raven That Refused To Sing, and I frankly need more time with this album to formulate an opinion. The recording lacks the clarity and strength of the last (engineered by Alan Parsons), but I’m working through it.
M. Ostermeier – Still: Tench TCH07: Just started listening; minimal, soothing, and it is both in the background and can be for focused listening–a combination of melodic sounds and microtones. Helpful for calm…need more of that!
Robin Guthrie & Mark Gardener – Universal Road: Soleil Apres Minuit SM1501 CD: Comfortably familiar sound and soothing lyrics–shoegazing for the Sun.
I’ll likely have more to say on these soon, but for now, rest assured that my recommendation will not disappoint.
I’m hoping for Spring, and SOON!
Future Spin Productions CD – Time: 38:26 – Release Date: March 31, 2015
Available at: http://www.chrisjamisonmusic.com/
Tracks: 1) Always, 2) Blue Melody, 3) Juniper Blues, 4) What About Tomorrow, 5) Pedernal, 6) The Mockingbird Song, 7) Waves Of The Wind, 8) Roadside Bar, 9) Old 81
When first meeting some folks, it often takes time to get to know them. It might take months or even years until an acquaintance becomes a friend. For reasons that can’t often be explained, sometimes with a certain person or people, there’s a sense of ease or a bond and it just seems right from the start, and that’s how Chris Jamison’s forthcoming album Lovecraft feels and sounds to me.
Formerly of Texas, Jamison now lives with his young family in Arizona and he has self-produced four previous albums, and contrary to my normal listening preparations, I didn’t listen to any of his previous work, initially. There is a grounded familiarity in Lovecraft, like being at a favorite place or in a well-worn cherished piece of clothing, and even if a song’s subject is somewhat melancholy there’s a comfort in it that brings some hope for better things ahead. The album is tastefully humble and original in many ways, yet with a lilt of roots, blues and country, and it does kick-up some dirt too. Most of the songs are quickly memorable, but the substance is far more than just catchy hooks.
As much as I try to resist comparisons, it’s clear that there’s an homage to some musicians reaching back into the 1970s (instrumentation, vocals and studio vibe) like Jackson Browne of the Running on Empty era and earlier as well as the timing and presence of vocals in earlier works of Van Morrison. It’s also clear that Jamison not only cares about the songs and instrumentation, but how the recording sounds, and he sought Sam Kassirer for the mixing who has worked with Josh Ritter, as well as mastering by Scott Hull of Master Disk in New York, who has worked with many well-known musicians. Click on the photo below to view other album credits and musicians.
The album opens with Always, which has a steady awakening beat that features organ and electric guitar with Jamison’s strong vocals, yet the vocals don’t demand attention. There are reflective and slow-swinging moments with languid electric guitar or piano as in Blue Melody and Waves Of The Wind, and whether the vocals are slightly saturated or clean, they are clear, but not over-powering. The meditative slow-dance Juniper Blues channels some of Vince Gill’s work from The Reason Why album (These Days tetralogy); the sweet memories that still haunt, to paraphrase the lyrics. Jamison also plays a bit with a sense of time, starting What About Tomorrow with sounds reminiscent of an old radio tuning into a memory and discussions of what could have been. The song’s construction evokes the instrumentation of Al Stewart’s On The Border with Sebastian Cure’s guitar solo paralleling Peter White’s solo in Border.
In addition to telling stories, Jamison also remembers places, as in Pedernal, which I believe is the northern New Mexico mesa (Cerro Pedernal) that Georgia O’Keefe used as an occasional subject for her paintings. The piece is at first instrumental, ambient and contemplative, then the vocals blend with the cello, vibes and organ, it’s a humble entreaty to listen, “May I sing you a song…” The Mockingbird Song is an observation and appreciation with a soft spacious opening, almost trance-inducing. It’s of chasing dreams, with a strong vocal and is reminiscent of Josh Ritter’s The Temptation of Adam, but more hopeful. Mockingbird is an elegant song, and the harp along with hushed organ and vocals are just…perfect. Another place, real or imagined is the intimate Roadside Bar with piano, percussion and the feeling of enjoyment and jamming with friends who sing along. The album closes with the reflective, visual and optimistic returning depicted in Old 81.
So much music (or what passes for it) these days seems synthetic and lacking an authenticity that pushing the “SKIP” button on a CD or MP3 player might be a better option than wasting the precious time to be inundated by sound that is over-processed with samples and pitch-correction. As much as I seek music that is more experimental and somewhat edgy, I also enjoy and have a deep respect for songwriters who take great care to compose and record with understated yet effective arrangements and skillful musicianship.
This album is the real deal and it’s a great companion for a road trip too. Hit “REPLAY.”
Photo of Chris Jamison by Lillian Reid
This is a solicited review
CD DR-28 – Time: 45:56 (Limited Edition of 100 and Deluxe Edition of 100)
Almost two years ago The Endless Change of Colour (12k1074) presented a peaceful timelessness borne from a phrase on a jazz record split into three stems disguised as something entirely different. The resulting single movement instrumental work was grounded in a calming earthiness.
Sinfonietta is similar in form, although in contrast it’s loosely held to the bounds of sonic gravity. From the opening, the music phrases materialize definitively then ease in gently to create a feeling of gazing over what could be a familiar realm below with the observer being gently suspended and the vision staying just beyond reach. Recurrent themes occupy a somewhat narrower range of sound and emotion compared to TECOC, yet there are no detectable patterns and the entire work is elegantly devoid of monotony. Periodically, slower flowing waves materialize and vanish gracefully, like evaporating clouds, a languid aurora or another vision from the imagination.
Even with a seemingly minimal palette, Marsen Jules (the nom de plume of Martin Juhls) cleverly interlaces and produces three dimensional visualizations in sound. Listening to Sinfonietta, I feel as if I am serenely traveling in space, perhaps orbiting the Earth (or another as yet undiscovered planet) and marveling at the sights from my comfortable observation craft where I am quite content to remain.
This is a solicited review.
A great show last night by the Steve Hackett Band at the Ridgefield Playhouse in Ridgefield, Connecticut for the Genesis Extended fall 2014 tour of the USA and Canada. More information on the tour is here: http://www.hackettsongs.com/tour.html
This will be the last tour with exclusively Genesis material in North America, with a South American tour scheduled for early 2015. Hackett will have a new solo album in early of 2015 with a planned late summer/autumn tour likely in 2015–stay tuned! The Band: Steve Hackett (guitars), Roger King (keyboards), Gary O’Toole (drums), Nick Beggs (bass, Chapman Stick and guitars), Rob Townsend (woodwinds, keyboards and percussion) and Nad Sylvan (vocals and percussion).
Set List: Dance On A Volcano, Squonk, Dancing With The Moonlit Knight, Fly On A Windshield, Broadway Melody Of 1974, The Return Of The Giant Hogweed, The Fountain Of Salmacis, The Musical Box, I Know What I Like (In Your Wardrobe), Horizons (acoustic, preceded by an excerpt from Bay Of Kings), Firth Of Fifth, Lilywhite Lilith, The Knife, Supper’s Ready Encore: Watcher Of The Skies, Los Endos (including an excerpt of Slogans)
Encore with Watcher of the Skies with Roger King on Mellotron and Nad Sylvan as the Watcher.
CD: Darla DRL289 2014 Time: About 39 minutes
CD available at this link to Darla (To be released on September 9, 2014)
Tracks: Jane 12 through Jane 21 with track Jane 16 subtitled (For Pale Saints)
I took some time off from writing reviews; primarily to just take some time off, but also I have been awaiting preorders for a number of releases as well as getting more serious about making some music instead of just listening. It’s a hard road training old fingers to do new things, but it’s about the journey for me, not just the destination.
What a treat it is to return to a new album by Harold Budd (and I understand that another collaboration with Robin Guthrie has been recorded and will be released in early 2015, the title will be Another Flower). Jane 12-21 is another fine example of Harold Budd sitting at a piano (or other instrument) and just playing without rehearsal or embellishment, one take without revisiting and then moving on. There are some apparent treatments and minimal overdubs. It’s difficult for me to tell if the percussion is actual or keyboard-based sampling, but it does sound like actual percussion most of the time.
This album is simpler and less adventurous compared to Jane 1-11, and that’s not a criticism at all, just an observation. The cover design is also rather stark by comparison, with one panel by artist Jane Maru and minimal information about the tracks, recording and times, adding a bit to the somewhat mysterious nature of the album. Jane 1-11 was created in response to videos created by artist Jane Maru (which were later released as a companion CD/DVD: Budd Maru Collaboration ) so without the benefit of input from Harold Budd (so far), I wonder if Jane 12-21 was created as a response to further videos by Maru (see video for Jane 8 below).
The album contrasts between recordings that are intimate and those which are spatially broad, more distant (whether the distance and reverberation were achieved with actual spaces or electronically, I don’t know). To briefly describe each of the tracks on the album: Jane 12 is a stark and up-close, yet resonant piano with brief references to Debussy’s Clair de Lune. Jane 13 also uses a piano with light melodic percussion. After the first two tracks Budd moves to more experimental territory and Jane 14 consists of melodic percussion (bells, glasses) with reverb and has a very calming effect. Distance, like a dream on the edge of consciousness is how Jane 15 sounds, with hushed piano and a spatial reverb. Whether intentional or not, I do find some of the pieces referring back to other previous Jane 1-11 pieces. Jane 16 does this for me—reminds me of Jane 8. It’s placid keyboard chords with gentle piano accompaniment and minimal apparent treatments. The piano is responding to the chord movement of the keyboard.
Air moving through pipes is how Jane 17 starts, it’s a strong sound with treated piano and minimal percussion, and a pronounced flow and movement. Jane 18 bends and twists with a somewhat downcast sonorous keyboard. The melodic references to the first Jane series return with Jane 19, again keyboard and resonant chimes. It sounds a bit more reflective to me with shades of Budd’s earlier work.
Jane 20 has a breathy keyboard melody, somewhere between wind chimes and woodwinds along with a gamelan (at times sounding like vibraphone) and deep percussive overtones. This track more than any other in the series evokes a scene from a film with a vast landscape of mystery. Budd closes this collection with Jane 21, a modest and delicately resonant cross between piano and celeste and themes appearing in various other Jane tracks, making it part of the larger cohesive whole.
Harold Budd’s work takes me to a place where I like to be, and return there as often as I can. I think you’ll want to add this album to your collection.
CDr éter-06 Time: 38:42 Edition of 70
Tracks: 1) Pneuma, 2) Infraleve, 3) Indeleble, 4) Transparencia, 5) Levedad, 6) Gravedad
I listened to Levedad a few times and instead of immediately formulating thoughts about it, I moved on to some other activities allowing the impressions to coalesce in my subconscious. A day later I listened again and found myself thinking about cosmology, and the mystery that we cannot see or explain approximately 95% of the mass and energy in our Universe—what has come to be known as: Dark Matter and Dark Energy. It’s a conundrum of knowing that something is there out there, but not knowing what exactly it is.
Although I have no expertise in astrophysics, I have read some of Stephen Hawking’s and Carl Sagan’s works. Why I had this macro-scale reaction to Levedad, I’m not sure. By sharp contrast, there’s also a micro scale parallel as in the communications between (nerve) cells, the electrical impulses that pass via dendrites and synapses (which we KNOW to exist and have been observed in real-time using powerful laser and electron microscopy). And what of the 5% of the Universe that we can describe, see and hear?
In this album I think I would equate the tangible 5% of the Universe to the micro-sounds that populate the sonic ether throughout the six pieces on this album…like the flash of a small meteor that almost fools the eye when it disappears as quickly as it appears, the electrical pulses of a distant quasar captured with a radio telescope or the intensive shimmering ribbons of an aurora borealis. The vast remaining aura of sound is the indescribable and unknown.
Miguel Isaza studies sound and philosophy and conducts cross-disciplinary research on listening. His work includes composing, exhibit installations, performance, visual art (including computer generated images) and research. Isaza explores the relationship between creators, educators and students with workshops, talks and publications as well as creating, recording and producing music. He works with museums, academic institutions and on web-based projects. He co-founded the Éter label along with Alejandro Henao in Medellín, Colombia and also runs the Monofónicos, Invisible Valley and Sonic Terrain music labels.
Levelad is a series of micro-montages that are akin to the recent long exposure Hubble Deep Field images of a fraction of our visible night sky. The longer the time of the exposure the greater the detail that is revealed and the further back in time one travels visually; like letting one’s eye adjust to the dark and eventually more stars appear in the dome of the sky.
In my brief e-mail correspondence with Isaza, I asked if there are any underlying concepts for the album, and he had a reply that was curiously similar to my impressions (after I had already listened to the album and formulated my opinions):
“The work has for me a sense of nothingness, inspired on thin, delicate and suspended activity of bodies…”
So my reaction to the album, I have concluded, is plausible in the broadest sense. The album has varied textures and moments of contrast from crystalline (almost piercing) individual tones to broad and intense walls of sound. There are some recurrent sounds and themes giving a sense of familiarity within the largely ethereal sound-scape. It’s my opinion that the aura of two of the latter tracks (Transparencia and the title track Levedad) somewhat belie their titles, but that in no way diminishes the listening experience. Perhaps they were titled with a somewhat Duchamp-esque irony.
Pneuma (roughly translates to a vital spirit or creative force) opens the album with a vibrant clarity. It begins in relative silence and then merges into sonorous glassy environs, and moves briefly into cavernous and buzzing electric depths. Infraleve gives the impression of being nearby an audio jet-stream with micro-sounds and other sonic activity dancing below and in front of the high and fast-moving heavens. There is somberness in Indeleble, as if evoking a distant memory during a passage of time. In contrast to the jet-stream of Infraleve there is a feeling of an almost brooding undercurrent.
As noted above, and despite the title, there is a broad three-dimensional frontal density to Transparencia. It meanders a bit with the faintest sounds of distant voices. For me, Levelad (lightness) is ever so slightly referential, sounding mildly like the Opening Titles and backgrounds to the soundtrack of the film Bladerunner where Deckard is reviewing surveillance photos, which is followed by the Blush Response segment. Eventually a layered drone blends into the piece, but is delicately penetrated with avian sounds of an outdoor environment. Gravedad is appropriately grounded and has familiar sounds of nature, perhaps marking a return from the exploration of the unknown.
Enjoy the flight.