More About This CD
A truly synergistic effort...a natural blending of elements that
go perfectly together. It links future and past, cutting-edge electronics and the original instrument, the human voice, into a singular musical message. Light tribal percussion and bell-like sounds mix with wordless humming drones on the title track.
Electronics sweep in over the top as a reminder that this is a product of modern day civilization instead of some primitive artifact. The breathy vocals near the end are haunting, but also soothing. This is a rich, palpable listening experience, and it’s only the beginning.
Wind chimes and thunder begin ‘Offering,’ followed by echoing drips of water. Sparse at first, then long slow washes of electronics impart a relaxed, flowing quality. The entire CD is extremely laid back and contemplative, but not minimalist or mundane. The music grows and changes organically, sometimes dramatically as with ‘Satari,’ which bristles with restrained intensity and power.
Expecting it to crescendo, it instead levels off, allowing a stage for Jim’s harmonic singing. Rapidly swirling synths circle in the background, followed unexpectedly by a sequence that is more Berlin school than ambient.
It’s a unique blending of genres, but they pull it off. Moving back to more drone-oriented, meditative fare, ‘Theidea’ is brief, bright shimmers of sound and voice. Jim demonstrates his remarkable range on ‘Sanguine Moon.’ I would swear that a female voice lends the wailing sound to this, but it credits Jim singing falsetto, no other vocalists. Amazing.
Greg’s gamelan sounds add loads of atmosphere, as layer upon layer is added. This really sounds like his work under the Open Canvas moniker, without the dance influence. Similar in tone is ‘Waking the Divine,’ again very tribal and other worldly, but with a slower, more deliberate pace. The Japanese-influenced ‘Samui’ brings Bislama to a long, slow, blissful close.
Review 2001 Phil Derby / Sequences