Posts Tagged spiritual

Souls Adrift, in Disrepair: the Album Story

Front Cover

Painting copyright (c) by Royce Deans. Used with permission of the artist.

I’m delighted to announce the upcoming release of my fourth album, Souls Adrift, in Disrepair, on my Kalindi Music label. It will be available by download on July 12 and on CD shortly thereafter. The album’s release page is here.

I think of the album as… three guitar symphonies, a dark drift and an elegy. Possibly an oversimplification, but close enough to be helpful.

Four of the album’s five pieces are reworked improvisations from my April 2012 multimedia jam with art painters Royce Deans & Tali Farchi.

I had met Royce & Tali a mere five days beforehand (thanks, Eve!), towards the end of their 6-week residency in downtown Chicago (part of the Pop-Up Loop series), and we just went for it.

Many thanks to Royce & Tali for making the day, and for lending me their inspiring artwork for the CD package.

Back Cover

Painting copyright (c) by Tali Farchi. Used with permission of the artist.

As always, every piece has a story…

Of the pieces which began as live improvs, Fading Angel needed the least rewriting to reach its final form. For the recording, I set aside my usual live playing approach and recorded all six guitar parts separately, playing them all the way through without looping. This approach allowed me, on each pass, to vary tempo, phrasing, and dynamics – unlike looping, where each repetition is exactly the same – and to interact with the previously-recorded parts even more closely than I can when looping.

I also did this for the other two guitar-driven pieces, and anticipate doing so for recording similar pieces going forward.

Astral Drift creates an unsettling atmosphere, using processed metallics, ocarina, voices and breath with an occasional guitar chord, and a few brush strokes of synths to keep us grounded, so we don’t go spiraling off into the void.

Sirens of Maya is built on a loop that’s all electric guitar harmonics, an approach I later ported over to acoustic guitar for Snowdance in Starlight on my album Divinations. Sirens of Maya is a three-part canon, but those parts aren’t strictly synchronized, which makes it a loose canon (someone had to do this). I had some more fun with my EBow on this piece, and I’m getting pretty good at hitting just the right amount and drawing back – before anything breaks. I also mixed up the guitars more than usual, using 6- and 12-strings as well as the fretless.

A live version of Sirens of Maya is the album’s pre-order bonus.

Transcending Memory features my Danelectro electric 12-string tuned to Alexander Scriabin‘s famous mystic chord. This piece was a lot of fun to record and should be a blast to play live. The 12-string lines carve out an eerie space, over a roaring processed singing bowl drone.

At This Body’s Final Hour closes out the album with a plaintive piano melody over a haunting synth-guitar blend, occasionally punctuated by a thumping bass drum and featuring a chorus of chanting voices (thanks to Dasi & Leyla for joining in). The instrumental track slows to half-speed over its 18 minutes.

So what’s with the album title, anyway?

Well, it goes something like this:

The album is dedicated to the memory of our longtime companions, Sandor Cat (who passed on two days after the performance with Royce & Tali), and his brother Kalman Cat, who left us two years later. Sandor’s six-week illness was a difficult time, and was hanging thick in the air when showtime rolled around.

So I wanted the album and track titles to convey something of the gravitas of the time. For me it sums up the material world, with us struggling our way through it. Fish out of water. A suitable continuation of themes ruminated upon in the Separate Ones album, this closes a circle in some ways. Other circles await.

I was also looking for something powerfully descriptive, like many of Dirk Serries‘ wonderful titles. I’m well aware of the cognitive dissonance of the word “disrepair” in this context – which is way more animé than I intend – and that it may at first be read as “despair”, which is way more “emo” than I intend, but anyway…

Sandor Cat

Track list:
1. Fading Angel   9.41
2. Astral Drift   17.17
3. Sirens of Maya   12.55
4. Transcending Memory   15.55
5. At This Body’s Final Hour   18.04

Here is a preview clip, with highlights from all five pieces:

I hope you find the album enjoyable, and worth purchasing. Many thanks for your support!


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eyes cast down Interview by Headphonaught

Many thanks to Thomas Mathie for posting this interview and for his nice support! The original post is here.

Thomas, aka Headphonaught, is a music lover, artist and designer, and keeper of the We Are All Ghosts netlabel, the Circumambient podcast and the Nanolog blog. Don’t miss his interview with my colleague Scott Lawlor.

Seven questions with … Greg Moorcroft aka eyes cast down

There is something wonderfully spiritual about some forms of ambient music … I find these forms reach into my soul like no other music. The music may be created to be spiritual and then again it may not … but, due to its very nature, it is possible to project a spirituality onto it whether it be the deeply meditative of certain longform drones or the wildly joyful of more upbeat, trancey sounds … this is my ‘worship’ music now.

One proponent of this form of ambient music is musician Greg Moorcroft aka eyes cast down. His contributions to the Free Floating winter compilations all|is|calm are exceptional. I have recently obtained a promo copy of his latest album – Divinations – and look forward to digging into that.

As is my way, I asked Moorcroft if he’d be interested in answering a few questions for this ol’ blog. I’m delighted to say he agreed.


1) Who are you and what do you do?
My name is Greg Moorcroft. I use the artist name eyes cast down. I am a composer, musician, recording artist and live performer. I work primarily – though not exclusively – in the ambient-atmospheric world.

2) What are you working on at the moment?
I’ve just released Album #2, Divinations, on my Kalindi Music label. Album #3, Pastimes of Creation, is very nearly finished, so that’s the priority now.

3) Who inspires you?
– Name an artist who has inspired you.
My main man is Steve Roach, whom I hugely enjoyed interviewing three years ago. His music provides an endlessly-deep well of inspiration.

– Name a place that has inspired you.
I love getting out into nature. The most inspiring place I’ve been to is Cranberry Lake Park in upstate New York, on a camping holiday.

– Name some “thing” that has inspired you.
Drumming. I go to a monthly group, which is tons of fun. I really should take my portable recorder next time, because some good grooves often magically appear.

4) What drives you to do what you do?
The word “drive” says it all. I have to make music. I don’t have any choice about it; it’s in my bones. I love it. I would do it for myself alone, if I had to, but being able to share it is better.

5) What values do you wish your creativity to express?
True spirituality, which requires humility; love, which can grow only from that point; the courage to undergo necessary introspection; and a delight in the amazing power of Creation, of which I aspire to be a medium.

6) What role does community play in what you do?
In this sense, “community” means “kindred spirits” who value the music as I do – as critically important, as soul-shaking, ritual, deepcore magic. It’s fantastic that such a community exists; for me, its hub is the Relaxed Machinery community.

7) What is next for what you do?
The next project is either: begin recording Album #5 (which is entirely written), or finish writing Album #6 (which is half written). After those are both recorded, I think it will be time for the Concerto for Ambient Orchestra project. That is going to be … something other.


Thanks Greg.

The first four tracks of Divinations were all released on Free Floating netlabel – Conceptionall|is|calm 2011all|is|calm 2013, and all|is|calm 2012 – with the final piece, Ensō (a live laptop/softsynth improvisation with Avian and human voices added during postproduction in May 2014) originating from an art show in May 2012.

I’m glad to have all these tracks in one place and recommend you check out the album: Divinations.

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Album Review: Worlds, Afterworlds by Zero Ohms

Album cover: Worlds, Afterworlds by Zero OhmsRichard Roberts (Zero Ohms) has just released Worlds, Afterworlds, his debut on the Relaxed Machinery label (rM_0019).

Richard is a veteran performer on flutes, wind-synth and other woodwinds. In addition to solo releases, he has collaborated with artists such as Craig Padilla and Markus Reuter, and has produced albums for overtone singer Gordon Rhyne and Inuit shaman Angaangaq.

The five pieces on Worlds, Afterworlds are created with bass flute, wind-synth and field recordings. In an amusing yin-yang progression, the pieces get shorter (and the titles longer) as the album moves forward.

From the beginning of the 28-minute Translation, Richard establishes a minimal, timeless space which is almost hollow at times but never empty. A peaceful stillness holds throughout, lightly punctuated with serene bits of melody, evoking the low, deep breathing (and ringing) of the cosmos – the stillness (full of potential) in which worlds can form. This would be great for meditation, deep listening, background or drift. The birds sound right at home – just as I felt. It made me want to grab a few singing bowls and join in.

This Beautiful Now flows by like a stream, slowing time to irrelevance, evoking and celebrating the joy of being fully present and mindful. It’s never fluff – these slow shifts could almost be tectonic – rather the music is subtle and full in stillness.

Worlds, Afterworlds sample clips by Zero Ohms

Peace of the Pi is a walk in the country on a windy day. Mournful Light of a Gibbous Moon is a melancholy bass flute alone in the moonlight, joined by a second one in a duet of loss.

I Become the Emptiness Thru Which the Axle Turns closes the album with wind-synth lines over a processed wind/hollow bass drone. It’s a soundtrack for letting go and stepping back from the entanglements of this world – perhaps not without regret, but with resolve all the same.

Arvo Pärt famously said that one note beautifully played is enough for him. The music of Zero Ohms perfectly embodies that minimalist ethic. You don’t need a lot of notes when they’re played with the kind of presence and still joy that Richard brings to every moment of playing.

Zero Ohms is yet another impressive addition to the Relaxed Machinery roster of artists, which includes Max Corbacho, Steve Brand, Bob Ohrum, Chris Russell and I’ve Lost. Forthcoming albums from Robert Scott Thompson (December) and Andrew Lahiff (early 2012) can only be expected to increase the label’s panache.

Worlds, Afterworlds is available by download from CD Baby, and is coming on CDR from Hypnos and in FLAC from AD21 Music. Highest recommendation!

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Album Review: Upwelling by Steve Brand

Album cover: Upwelling by Steve BrandSteve Brand has just released his first “lost pieces” collection, on his own Pioneer Light label. Upwelling (PL 0002) is a gathering of nine remixed and reimagined tracks, some created during work on other albums, others resulting from momentary inspirations.

Forgotten Feast at once opens a ritual, ancestral space, into which a rich light streams, full with memory. Steve establishes at the outset one of his signature themes: rebirth through rediscovery. The journey, as it must, passes through darkness and loss as well as joy and learning. I couldn’t believe how quickly this 8-minute piece flowed by. It barely seemed to have begun – one of my favorites.

Overtone continues the mood, with enticing flute fragments offset by darklit tectonic shifts. Quietly searing, ominously ringing and enchanting.

My other favorites are the reflective meditation Morning Glory and the glorious The Web, which together anchor the album at its midpoint. I hear them both as hymns to simply being present and attentive – for me, another key theme that resonates throughout Steve’s music. Key, because being present in the moment is essential to Steve’s spiritual quest, of which his music is an inevitable expression.

The pieces seem to come in pairs: the title track shimmers through a glinting, slightly-metallic space, while Selves Like Facets in a Diamond follows with a darker, more intense soundscape of processed metal percussion. At six minutes, it’s the album’s shortest piece – perhaps its strongest.

The ethereal drift of Over-soul is a brief glimpse of a slow, eternal journey through infinite space. This is a short clip from the long-form version, which will probably see release in 2012. I’m definitely looking forward to that.

Steve Brand – Upwelling (Excerpts) by Relaxed Machinery

Opening with a processed vocal invocation and softly-clattering chimes, The Language of Moon and Tide swells into a flow of midnight pads, ending with chimes and cymbal effects.

Ever-Increasing Brightness closes the album with Asian elements of melodic percussion and plucked strings, which cascade and echo away, then give way to an atmosphere which falls away from us.

In much the same way as does any of Steve Roach’s Lost Pieces albums, or Max Corbacho’s recent Lost Links collection, Upwelling weaves these varying strands together into a seamless, cohesive whole. As solidly as the tracks are sequenced, I think shuffling them would yield some interesting, parallel experiences.

If you’re new to Steve Brand’s music, this is an excellent introduction. For the rest of us, it’s one more welcome addition to his impressive discography.

Upwelling is available for download from CD Baby and other digital outlets, and is coming soon on CDR from Hypnos and in FLAC format from AD21 Music. Recommended!

Wallpaper: Upwelling by Steve Brand

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Album Review: Lost Links by Max Corbacho

Lost Links (Relaxed Machinery 0018) is a new collection of “lost pieces” from ambient-electronic wizard Max Corbacho, created during 2003-09 for other albums, but left out “for various reasons”. Fortunately, Max saved them for another day.

Created with synths, sequencers and atmospheres, the seven pieces on Lost Links, running 67 minutes in total, cover Max’s typically vast sonic range while sharing – given the circumstances – surprisingly common ground. All of the music has Max’s trademark sublimity, luminosity and depth.

You may find it difficult at first to choose favorites, as I did. They may emerge later. I admit to being partial to longer pieces, and there are three gems here, in the 12-16 minute range. The longest, the beautifully meditative One True Light, flows by effortlessly in no time, with wildly-bouncing glassy/reedy melodic sequences (like particles in the light) and brightly-lit pads. It’s followed by Mandala, thick with texture and color, rich tendrils of each chord spiraling out from the center, dazzling in its veiled effulgence.

The other long track, Slow Thunder, closes the album with 13 minutes of rich bass and ghostly chords, building and foreboding, all breathing like a big weather system. The piece is leisurely and perfectly paced, resisting any urge to hurry, its dramatic intensity quietly building – the feeling reminding me of Steve Roach’s wonderful Dynamic Stillness album, to which I was irresistibly drawn immediately afterwards.

Lost Links (medley excerpt) by Max Corbacho

The album opens very strongly with Earthflow Trance, a mystic, deep-earth illumination. This piece placed me in a cave cathedral, its blazing, eerie pitch-bent chords, thrilling and tantalizing dissonances, and roaring didgeridoo-like bass adding up to an irresistible mixture of searing etherea and deep earthcore. The glassy organ-like sheen of After Dream, with tones racing off into space, swells and contracts like a cosmic harmonium.

Sky Resonance and Third Exposure share a common mood of deep serenity, in contrasting modes: the former a darkish light, with the thrilling feel of discovery. An uplifting progression leaves us floating and soaring, feeling joy and wonder in encountering the unknown. This is the most common feeling I have in listening to Max’s music. The latter piece, with its night-like sounds, follows the bliss of a fine sunset and comforting twilight.

CD Cover" Lost Links by Max CorbachoAs is usual for Max’s albums, the artwork simply must be mentioned here. Max created the cover image himself with Apophysis software. It is vast, brilliant, gorgeously designed and sublimely beautiful. Steve Brand, Relaxed Machinery’s resident album designer, handles the package layout with his usual deft hand.

Lost Links is a perfect introduction to Max Corbacho’s music. If Max’s music is new to you, when you hear the quality of these pieces – leftovers from Max’s other albums – you will find it hard to resist discovering how great those albums are. That is an ongoing, joyful process: in my view, Max is one of our top-ranked ambient-electronic artists. His music is, quite simply, unforgettable, essential listening.

Lost Links is another strong release from the rapidly-growing Relaxed Machinery label. It’s available by download (MP3 from CD Baby and lossless FLAC from AD21 Music) and on CDR from Hypnos. Highly recommended!

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Album Review: Far Beyond the Immobile Point by Max Corbacho

Max CorbachoI think Max Corbacho is driven by a love of life’s great mysteries. His music is fully informed and animated by this, by (as I’m hearing it) a quest for something transcendent, something far beyond our conventional, mundane states of being. I believe that, in this respect, Max is a kindred spirit to Lucette Bourdin, whom I recently featured here. In its feeling of reverence, its quest for purity, Max’s music often reminds me of Steve Roach’s magnus opus, Mystic Chords & Sacred Spaces.

Max recently re-released his second album, Far Beyond the Immobile Point, originally released in 2000. Two key features of this new, remastered version are (1) Max was able to segue all the tracks together, so we get to enjoy it as an unbroken flow, and (2) two bonus tracks. This all-synth, beatless, deep-ambient album now includes nine pieces, totaling nearly 75 minutes.

Any one of Max’s albums is evidence enough of his talent, commitment and maturity as an artist. Even this early in his career, Max’s sound-sculpting skills are clear, and goosebump-exciting to hear.

CD cover: Far Beyond the Immobile Point by Max CorbachoPrimigenial Frontier is an ideal opener, capturing the entire album’s essence. It’s far away and vast, soothing and chilling. Everything is strangely illuminated, deep and still. A boundless intelligence, patient and probing, is suggested. “Primigenial” means firstborn, original, primary – and this feels just like that. We’re on the threshold of the unknown (and perhaps unknowable). It’s not even drift – this is a mesmerizing standstill. “Tantalizing” is the best word I can conjure for it. One just wants to behold this, with no need to move or look elsewhere.

Our journey proceeds through the unnerving, yet tempting Predawn Darkness, with its ominous, tectonic roars, to The Threshold, which can be a gateway to whatever the listener dares. Mystery, knowledge and the great power that comes with it, are all beckoning.

Soundless Sign is enigmatic and still, a mystic vision of expansion and depth. The bass sounds like our frame of reference dropping off below, as spacetime flies away from us in all directions.

This all brings us to the title track, by far the album’s longest piece at over 23 minutes. A wonderful glassy, shimmering and chiming, over a thrilling depth. Glorious, luminous chords slowly flying past. We have travelled a long way – where are we? Look within for the answer.

Delightful bursts of living light dispel the murk; exhilarating and sobering. There is so much we don’t know and cannot know, so much we can’t even imagine, but how can that matter when we are given so much? Our vision – our sense of what is possible, despite so much unknowable – is expanding. The final few minutes settle us right here, in an unimaginable fertile vastness, as we reconcile with that unknown.

The two bonus tracks, which conclude the album, both have striking titles. Ancient Transition instills a sense of eons past. What changed, and what of the ancient ways was lost in transition? Hundred Miles of Emptiness is calm, but not serene – still, but foreboding. Mysteries remain, and there is no presumption of answers here.

Far Beyond the Immobile Point is thrilling, ecstatic, beautiful and joyous to hear. It’s available here, from Max’s label AD21 Music. Highly recommended!

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Lucette Bourdin: Simply Playing, a Transcendental Quest

Lucette Bourdin on shoreOn Feb. 26, 2011, StillStream featured the music of Lucette Bourdin in a five-hour edition of Zen Caffeine. This completed a week of tribute programs, which also included Kite Radio and Free Floating.

That was my introduction to Lucette’s music. While she was with us, I’d heard only one album: the fine light-ambient Prasantih (with Darrell Burgan). I knew that Lucette was very highly regarded in the ambient music community. I added her to my shortlist of artists I must check out more closely… “one of these days”.

That day has come but, sadly, it was her death on Feb. 17 – one week shy of her 57th birthday – which brought Lucette back to my attention.

The spontaneous outpouring of tributes from friends, fellow musicians and listeners made it clear that Lucette’s music resonates deeply with many. I heard about seven hours of it in those three evenings. All of it was powerful, beautiful ambient: full of mystery, depth and reverence. Not to put too fine a point on it: I was blown away. The whole experience was a major revelation.

Album cover: Radiant Stars by Lucette BourdinThe playful, earthy rhythms of Drums and Repercussions. The gorgeous space of Month-Long Sunset (from the forthcoming album The Seasons). The healing energy of Calm Lamps (from Radiant Stars).

The music flowed by, the pieces expertly sequenced by our StillStream hosts. Every piece was uplifting and beautifully wrought.

The soothing, endless cool drift of Above the Hills (Golden Sun). The celestial, floating Space (Oceanic Space).

Lucette was diagnosed with breast cancer in 2003. Already a well-established visual artist, she at once acted on her desire to create music as well: “If not now, when?” She bought a synth and began learning how to use it. Within two years, she had begun releasing albums through her website.

While the tribute programs played, Lucette’s friends and admirers congregated in the StillStream chatroom. Her husband Michael was there. Fond memories, heartfelt responses to the music, and off-topic joking were all in abundance. Good company.

Lucette Bourdin in her studio

Sarga (Samhata, with Darrell Burgan) invokes a sacred space, a place of wonders. Celestial Winds (Horse Heaven) is a swirling, mystic ascent. The House of Laughter (Rumors From Cypress Town) is a playful delight.

Lucette’s discography numbers 23 albums, most of them on the Dark Duck and Earth Mantra labels (with an amazing 11 albums released in 2009-2010 alone). She collaborated with Darrell Burgan on two albums and with Phillip Wilkerson on one, but mostly worked alone.

Album cover: Horse Heaven by Lucette BourdinConsider a moment: artistic output of this magnitude – so many albums, on such a high level of quality, sincerity, depth and playfulness – would be impressive over a 20- or 30-year career. That Lucette accomplished all this in less than eight years – starting from scratch and self-taught – simply beggars description.

The Zen Caffeine program melted into the most ethereal, effulgent and timeless pieces in Lucette’s oeuvre.

The Luminous Ocean (Horse Heaven) is another aptly-titled spiritual voyage. Timeless Shore (Timeless Shore) is a deeply profound long-form meditation, in a realm far outside material time and space. Flight Through Infinite Stars (Drum-atic Atmospheres) feels like a journey into the deep unknown, the unknowable. Dweller in the Infinite (Horse Heaven) feels like the rest after the “endless” journey.

Lucette had a knack for titles. My favorite right now is Part Memory, Part Distance (Coast to Coast, with Phillip Wilkerson), which perfectly captures the mood of the music – wistful and falling away.

Lucette Bourdin's studioLucette’s new 4-CD opus, The Seasons (one disc for each season) is coming soon on Dark Duck. I don’t know if there are any other releases pending.

Prelude (Soaring Above the Thunder) feels just like rising above a storm, to wonder what all the fuss and stress are really about. While the Storm Passes (Rising Fog) rides out the storm and lets it fall away. Finally Resting (Stories From the City) is peaceful, full of joyful energy and release. The Gardener of the World (which closes the double-disc Golden Sun) is a transcendent, awe-inspiring view from beyond our frames of reference. Sonoran Clouds (Under Currents) is a stirring, powerful desert landscape.

Album cover: Golden Sun by Lucette BourdinAn artist, before anything else, is playing with the materials. Yes, it needs discipline and crafting; any art deserves to be taken seriously and created with sincerity. Elements of work are undeniably present. Still, at its root, I view creation as an act of play.

Lucette was clearly serious about her creations, but without taking herself too seriously. Playing, after all, is meant to be fun – and Lucette is playing music, not working it.

The seriousness (and, at times, the playfulness as well) is in the quest. And it was a quest – I’m convinced that with any truly committed artist, it’s never merely about self-expression. That’s not enough. If the titles alone don’t give it away, listening to one piece each from any three albums is more than enough to make it clear: Lucette was in search of the Transcendent. Nothing less. I take that to be the true end of artistic endeavor, and I believe Lucette was straight on course.

Album cover: Samhata by Lucette Bourdin & Darrell BurganNew Growth (Under Currents) is optimistic, pulsing with life energy, enthusiastic but refined and well-shaped. And the Rainbow Appeared (Rising Fog) has classical overtones, full of light and optimism. Nag Champa (Seeking Ganesha), with tablas and a restful atmosphere, ascends to a dizzying height. The Beginning (Oceanic Space), a deep space meditation, fittingly closed out the evening.

Sadly, I missed out on any possibility of making contact with Lucette. After hearing all of this joyous music, I’m sure I would have sent her a complimentary note. From what I learned in the chatroom, I can know that her reply would have been gracious. It was said there that she never had a negative word for anyone.

In due course, I will eventually write reviews of a few of Lucette’s albums, and I’m confident that whatever words I can conjure will fall far short of capturing the luminosity of the music. Still, one makes the effort. If you have not heard Lucette’s music, I hope that reading this moves you to discover it now. If even one person does so, my effort is rewarded. I can only say that the discovery has been a huge one for me.

The heart of any sincere artist is always manifest in their art – in Lucette’s case, radiantly so. She shared it all, without reservation, and the world is richer for it. Merci, Lucette.

Lucette Bourdin

(Lucette Bourdin website; Earth Mantra artist page; Dark Duck artist page coming soon.)

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