Music

This orgiastic, trance-ambient orgy recorded live at the Bay Area's first Gathering back in 1992 actually pre-dates the current popularity for English-import bands like Prodigy. Ambient Temple of Imagination are underground legends, an American rave entity that not only plays live, but is successful at capturing on record all the intensity, sweat, and divine catharsis of its show. Hypnotic drones, cascading wave shimmers and snippets of prose ("She's giving birth...to a new baby earth...she is...the mother of us all.") woven deep into the highly hypnotic mix make this truly tasty listening when you want to gain energy. Unlike the often overpowering, downright ugly sounds of techno music, The Gathering has a softer, more richly embellished character that includes third world rhythms, comfortably familiar galactic textures, and many human elements to help ground the listener while the consciousness alters in a safe, warm cocoon of sound. Note: Also available is "DSM," a label compilation featuring many ambient stars like Human Mesh Dance, Tetsu Inoue, Terre Thaemlitz, and The Mobeus.

Alleged backlash be darned, this duo gives New Age a good name! If you've forgotten how beautiful, serene and gently supportive music made from the heart can sound, play "Elysian Fields" and let your eardrums unwind in total bliss. Utterly lovely from start to finish, each of the eleven tracks overflows with the fluid grace of guitar and woodwinds performed by what is arguably one of the best composing-performing duos of the last two decades. Now in their 13th year of creative partnership, the pair return after a two-year recording hiatus with some of their strongest compositions ever. Drawing upon a mutual Scot-Irish heritage, "Guinevere's Lament" and "The Jester" are like two sides of the same coin. An intriguing juxtaposition of contemplative, romantic ballad next to sprightly dance tune, these two pieces pay homage to T&R's love of the preservation of all that is good, whether storybook chivalry or shared appreciation.

Rich gives his always fascinating, fertile imagination a chance to stretch out along with his chops on synths, flutes, percussion, dulcimer and steel guitar on this spacemusic pairing with Alio Die (Stefano Musso). The somber yet majestic first track, "Turning to Stone," possesses a wind-swept, liquid undertone that conjures images of water dripping off stalactites in deserted ritual caves. The deep bombast of an underground stream emerging into the sunlight introduces the mesmerizing piece, "A Canopy of Shivers." Unusual metallic percussive accents propel this darkly resonant instrumental outing, yet there is no sense of isolation imparted by the music. Instead, one grows ever more curious about these ambient landscapes as the music winds its way on "The Road to Wirikuta."

When selecting a vacation destination, you could do no better than the rugged, sea-kissed shores of the lushly forested Acadia. But if a trip to the coast is not in the cards this summer, armchair travelers can still relish "The Rushing Wings of Dawn" as evoked by this keyboardist's 14 marvelously detailed, beautifully orchestrated soundscapes. A profoundly compelling composer, Janis has an impressive ability to illustrate a theme in full color, as if for the wide screen; indeed, comparisons to the scores for A River Runs Through It and Legends of the Fall would not be amiss. "Mount Desert Island" features one of the most emotion-packed, impressive violin leads recorded in recent memory, while "Wing Song" takes an abstract concept and makes it so real you can feel the warm breeze kissing your cheeks. While many tracks have a tranquil quality, the soothing sweetness of "Night Walk" brings quiet, lasting joy to the heart.

A sonic blast reminiscent of Tibetan horn exclaims that the "Crack Between The Worlds" is now open, and all adventurous aural explorers willing to join in the "Migration" may step through for a wild ride on the "Great Wheel." Layering organic instruments -- including water drums, clay pots, harmonium, flutes, and e-bow guitar -- with exotic electronic drones and textures, the group's signature sound is equally enticing and slightly unsettling. Like sand falling through netting, the sound ranges from finely sifted to great big clumps. Ethereal spaces and stark atmospheres spun from temple bells and singing bowls linger for long minutes, then are cut in twain by a sudden tribal groove that is totally transcendent. The talent of Tuu resides in the trio's intuitive ability to precariously balance these diametric opposed sonic qualities into a dizzying, dazzling sound sculptures.

Refining the concept of his previous "Secret of Angel Island" outing, left-handed player Huckabay presents so many attractive tones, textures, rhythms, melodies and accents from a single acoustic guitar that you'd swear this album was orchestrated. By using a bow and progressive, specialized techniques -- such as tapping the body of the guitar as if he were playing tabla drums -- he gives good groove and West Coast flair to "Dreamer of Treez" and "Sister Ritual." The latter is as exhilarating as riding the crest of a wave, with multi-layered rhythms building dramatically to a soul-affirming conclusion. "Into The Spirit" achieves a pure sincerity through thoughtful string picking that creates chime-like accents, and richly resonant contemplative chord changes. No doubt, this man is a marvelously inspired six-string whiz, and -- in light of his personal history (see liner notes) -- we are all lucky to be able to enjoy his inspired music today.

Maintaining a tempo of between 60 and 80 beats per minute -- the range of the human heartbeat -- and combining music with familiar natural sounds is a common theme among therapeutic recordings that desire to trigger the relaxation response. What sets this music apart from the pack is Kyoji Ohno's delicious piano style, recorded in such glorious clarity and intimate detail that the baby grand seems to sit right behind one's chair. The composer adds tastefully refined orchestration for guitar, soprano sax, violins, viola, cello and gentle percussion, but it is Ohno's heartfelt keyboard melodies that really appeal. The music's capacity to evoke both emotional response and reverie while subtly inducing a state of inner tranquillity, is superb.

Titillatingly sub-titled "176,000 years in the making," this unparalleled album of didgeridu (also didgeridoo, or "didj" for short) music as played by four of Australia's virtuosi is positively breathtaking in its scope and diversity. Opening with three ambient pieces from Alan Dargin, the music evokes the stark desolation of a new continent, thanks in part to translucent synthesizer washes punctuated by didj wails, rasps, and stutters. Mark Atkins's trio of tunes are insistently rhythmic, utilizing click sticks and wonderfully emulated animal cries to breathe life into the land. His imaginative use of breath exhalation is truly awesome! The next quartet finds Matthew Doyle's reverberating voice combining with Michael Atherton's distinctive vibraphone and his own clever didj-work to evoke the magical diversity and abundance of Gondwana in its prime, day and night. David Hudson closes out the album with two short solo pieces deeply rooted in traditional playing. Exceptionally detailed liner notes make this a must-have for didgeridu aficionados.

One of the best effects of the last 20 years of New Age music has been its ability to stir an interest in older forms of instrumental music. Classical, traditional world, and even jazz, have benefited from the growing sophistication of its listeners. Now, early American roots music is being rediscovered. Cotillion suites, Southern harmonies, poetical music, sacred and dance musical styles are all presented in this well researched and beautifully recorded album of 22 timeless tunes. As most selections clock in at under three minutes, there is room for such delicious diversity as the "Bobbing Joe Medley" with its achingly beautiful hammered dulcimer, as well as the delicate cittern strains of "John Come Kiss Me Now." Sounding decidedly Celtic in parts, this album should rapidly find favor with that demographic as well as anyone who just loves a great melody played on viola da gamba, baroque violin and guitar, recorder, and flageolet.

Submissions for review consideration may be sent to: PJ Birosik, MUSIK INTERNATIONAL CORP., 154 Betasso Road, Boulder, CO 80302-9606. Since 1977, Birosik has been a music industry consultant specializing in marketing, promotion, publicity and A&R/foreign licensing; she is a member of NARAS, NARM, NAIRD, CMC, IMA, and a past Board of Director of Los Angeles Women In Music who has been profiled in 11 international editions of Who's Who. Calls may be placed to her at (303) 444-9575 between 9:30am - 5pm MST regarding review criteria, consulting services for signed & unsigned musicians, and data list rentals.

Next Article

Return to This Month's Index