Gardens lit by Starlight – Hybrid ambient electronica

 

The second one: Gardens lit by Starlight

features some jazzy freeform progressions on a virtual xylophone; the Morpheus from
Soniccouture. Quite happy with how it comes across.

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New tracks on my Soundcloud Archive

Working with some new ideas in the area of electronic music.

Across the Bridge of Chenvat.  It is the Mazdean theme of the crossing of the perilous bridge over the river Chenvat or Chinvat.
Initial description in Wikipedia:  “The Chinvat Bridge (Avestan Cinvatô Peretûm, “bridge of judgement” or “beam-shaped bridge”[1]) in Zoroastrianism is the bridge which separates the world of the living from the world of the dead. All souls must cross the bridge upon death. ”  A comparable theme is Bifrost, the rainbow bridge.

Musically it is a little more compact and focused than many of my “experiments”.

 

Nucleus

It has two distinguished parts whose chief association is instruments and a beat.

my old “friend” Rudra makes an appearance. Thundery intense Oud and Tabla, no real instruments were broken.

Not quite the material for the Trimorphic Protennoia series, it is still a hybrid meditation on the themes found there. Meirothea is another name of Barbelo.

Hope you like these works, they will eventually receive new format.

 

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New track on Soundcloud – Trimorphic Protennoia pt.4 I cry out in everyone.

Fourth composition for the Trimorphic Protennoia suite:  I cry out in everyone.

It has been a busy week for good and worse, during that time I actually managed to sit down and finish a rather soft, yet intense, piece of ambient music.

The relevant text from the Nag Hammadi scripture Trimorphic Protennoia is

I descended to the midst of the underworld, and I shone down upon the darkness. It is I who poured forth the water. It is I who am hidden within radiant waters. I am the one who gradually put forth the All by my Thought. It is I who am laden with the Voice. It is through me that Gnosis comes forth.

I dwell in the ineffable and unknowable ones. I am perception and knowledge, uttering a Voice by means of thought. I am the real Voice. I cry out in everyone, and they recognize it (the voice), since a seed indwells them.

enjoy!

 

 

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New Musical piece on TerjeDB Soundcloud: Trimorphic Protennoia 3: I am a Voice speaking softly

I am a Voice speaking softly. I exist from the first. I dwell within the Silence that surrounds every one of them. And it is the hidden Voice that dwells within my, within the incomprehensible, immeasurable Thought, within the immeasurable Silence.

Trimorphic Protennoia, Nag Hammadi Library, Codex XIII

I have managed to create another monstrous experimental musical piece drawing inspiration from the Trimorphic Protennoia.

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New Ambient music set posted to my Soundcloud page: Trimorphic Protennoia part 1

Trimorphic Protennoia:

I am Protennoia, the Thought that dwells in the Light. I am the movement that dwells in the All, She  in whom the All takes its stand, the first-born among those who came to be, She  who exists before the All.

Trimorphic Protennoia. Nag Hammadi Library Codex XIII. Transl. John  D. Turner. 1990

No one knows for certain were the Coptic Gnostic scripture originates; who wrote it, who edited it, who gave it the form and expression it has today.
What we do know of its transmission through almost two millenia and to a format we can read and share is:

– when it was rediscovered, August 1945 (month of the American bombing of  Hiroshima and Nagasaki)
in the desert outside of the ancient Chenoboskion monastic commune , close to a contemporary Egyptian village which bears the name Nag Hammadi hence the name of the collection of codexes buried in jars, the Nag Hammadi Library.

– who, in a succession of contributions and completions, studied the text and translated
it from its Sahidic dialect of Coptic to contemporary languages.

– what, in a sense of common features and characteristics, it is – an apocalyptic writing
classed with the Sethian or non-Christian Gnostics of the first 4 centuries of the common era Middle East.

1st revelation: I am movement.
The first thought in three forms says of herself :

I am the movement that dwells in the All
… . I move in every creature.

If it is alive, we expect it to move. Even if a mountain is a million times greater than a child, one is experienced by us as more real and substantial than the other. It is arguably a question of quality over quantity. However inert, however diminutive – the most shallow breath, the sway of its body, the beating of its heart, the smallest subconscious gesture. The Revealed is great, the Revealed is perfect – because it is invisibly near , that is to say,
She is perceived that way. Compare that to a woman, there is no quantification of her beauty, virtue, wit or dignity – only qualification.
My musical piece – I am movement, first part of the Piece  Trimorphic Protennoia, is
all over the place, it is rhythmically flowing, and staccato – dissonant, and harmonic;
it does not shift according to convention, some places it translates poorly.  This is part
conscious, and part the result of some very visible, or rather, audible, shortcomings of the
“composer.” What makes me curious as well as courageous enough to unleash this on the Internet, which is the true public domain, is the plot to find out where
music comes from. I perfectly understand that few have patience with that, let’s say they know, if they know, and this knowing does not entertain or stimulate them, it is natural that
they shall have no time with it.
And yes, the style here is something between ambient electronica, contemporary music
and noise.

 

Those who sleep I awaken.

I am the life of my Epinoia that dwells within every Power and every eternal movement, and (in) invisible Lights and within the Archons and Angels and Demons, and every soul dwelling in Tartaros, and (in) every material soul. I dwell in those who came to be. I move in everyone and I delve into them all. I walk uprightly, and those who sleep, I awaken. And I am the sight of those who dwell in sleep.

 

Here we reach deeper, from the demonstration of an invisible mover and movement, towards great mysterious landscapes populated by the supernatural, that is to say –
populated as well. Tartaros is the helleno-roman realm of the dead, the greek Hades,
the shades, Hel, the Gehenna, the West – not quite hell, not quite purgatory.

Those who sleep I awaken, she said – and I’m vision to those who dwell in sleep.

Sleep is the inanimate Animate state, we have not figured out sleep, we are trying –
the more science find the more frustrated, or amazed, scientists, and we their charges,
become. The dead shall not escape her presence, nor her movement. What place could
such take place in, she says herself – and we are stupified by the answer.

“Those who sleep, I awaken.” I like to think – does that. It is more true to how I navigate, I
am more confident with and more at ease with  “I am movement.” In terms of “language”,
frame of references, you have “heard” most of it before, even though the creator thought
he shut up and off everything while creating it. On the first listen as a complete, it struck me that it was both close to some Classical work I have heard and alas, forgot the name of , and something in the genre of Progressive Rock, but it doesn’t pack the same punch, and I thought that was just fine.

– to be continued.
A note: Some of my colleagues, fellow craftsmen, dreamers, obsessive-compulsives wondered how I work and what I use; I use virtual (software) instruments, a MIDI keyboard, a Macbook Pro and a microphone. It is put together, adjusted, edited, automated and mixed in Logic Express 9.

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New activity on my Soundcloud page+ update

New tracks from February/March:

A Harvest of Light

This is the beginning of something which might become the backing track of a poetry reading, not very confident with my voice yet, it needs a lot of going through, I suspect I might have to pace myself somewhat. It is dischordant, it does not always keep on kilter and follow the straight route – this is the result of conscious decisions, perhaps I am fooling myself. The darkness at the other end of the spectrum (title:A Harvest of Light, music:descending notes, minors, dischords, rhythm structures falling apart, cutting mechanical noises, some beauty here  but I do not know how) delineate not an attraction towards the sinister,dark,cold,material – but an acknowledgement of existence. We can visualize the light for centuries, you and I, but we will not catch a glimpse before we have learned to use our eyes in the dark and orient ourselves towards it; the same goes for following a vision, any vision. There is a lot of talk about hope and belief, the power it exercises over our minds, how this is what really runs the show and fuels the machine –
we can not believe ourselves out or into any situation,condition or fate, and the more we
invest into hope bonds the more we embellish and weigh down a dream. A lot of talking here, just to say that A Harvest of Light isn´t a piece of popular music but perhaps the sonic equivalent of an etching by William Blake.
Kalos

Kalos means Beautiful in Greek. What you are listening to now are music made by musicians that have ingested…. no, I am just kidding. Kalos is strange. I am not sure it is anything else than its substance, there is a nerve somewhere inside it , and someone else than myself has also caught it. I doubt this is Hi-fidelity, and in another time and on another timeline, it would probably not have come into being and most definitely not been shared to so many poor, wretched listeners.

Purr

The title says it all, I thought it was convenient, for once. I would have loved to say that I spent a lot of time trying to capture the purr of a kitten, but I did not. Like the info says I
opportunistically availed myself of a sample instrument that I acquired from 8Dio this Christmas, called Catmosphere , which features pretty much everything the kitten Fellini did on his rounds during a most hilarious and hectic recording process, I bet. For my part, I
made quiet synthetic music out of the box, but I liked making it and I think it has promise.

 

Less than a week ago I shared the news that I had acquired 100 followers and that my 23 tracks on Soundcloud had reached 1000 plays. Today that has increased by approximately 25%. This is really incredible for me, a self-taught dabbler in electronic music who only joined that social network to broaden my musical and cultural frame of reference, registering as fan/listener and thinking that whatever output I have is better kept stowed away on a harddisk, to be dusted off much later in a funk of embarassed  nostalgia. Then Christmas came along and I decided to share Eye and Mote  and a  few more compositions on the top of the pile, my preference for these were that they could be finished and make sense enough to be received, played through and possibly even repeated plays. Where I am today is a little different, because I have actually begun to create pieces that are not only different and original, but also consistent. Somewhere and sometime much farther and later it´s possible to even consider it a style, nevermind genres.
Genres is only useful, and only barely, today – in the indexing and catalogization of music, and music journalism perhaps. When I grew up quite a few of the most antagonistic of music genres caused people to regard other people less of a person for having such poor taste and choice in music. Now music is beginning to reveal itself, at least to me, as this huge ocean of possibilities, much like what we imagined Internet would become “back in the days” (early 1990´s, the last decade of the 20th century). I have tried Internet radio out, there was a brief flirt with Napster, with filesharing networks, with Spotify – which I pretty much landed on for reference, but that was just the thing, with a shortage of curiosity I ended up listening to the same type of music, the same artists, the same tracks, that I always had done -new impulses came chiefly through TV and Radio. In came the incessant posting of favourites, listenings and sharings from Youtube and all them other media networks on Facebook, it´s increased a whole lot and show how habitual creatures we are as human beings. I am not disresepecting that, but acknowledge that it´s usually unconscious, below-the-radar activity, which makes me feel like a voyeur when I give in to the temptation to click a link someone has posted on those social networks.
Soundcloud changed all of that, I confidently follow-through and discover the breadth and depth of our sympathies, antipathies, passions and disenchantments – us being anyone who connects to share or to discover music, radio, ambience, interviews,poetry,plays – Sound, and by  discovering my bias, the way the bricks are stacked to form a wall of defence, and mapping my incessant struggle with having a wall that obscures everything not contained within its boundaries, my attempt  to dig holes in it so I can look out.
Or even better, listen. In Philosophy class my teacher incessantly reminded me that in the really old days, call it antiquity, there were a cultural divide between the auditory and the visually oriented cultures. The auditory oriented cultures, I observed, tended to outlaw the creation of visual representations, the visually oriented cultures tended to neglect sound or even proscribe silence. In my culture today, we are audio-visual – we are fish swimming in a sea of stimuli, often we are not even connected to the same space because with headphones and portable screens we have gone another place even while out walking on the same street. I am still fascinated,though. Perhaps we can break holes in our walls and speak with each other, and the stay contained in our individual cells can become a little less isolated and forlorn than it used to be. Perhaps we can share the best or perhaps the worst that grows out of our creativity. Maybe we can learn a thing or two from each other.

 

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New Gnostic themed/named electronic experimentation tracks left at my Soundcloud site

During the first week of 2012, that fateful year, I have been in a creative fugue.
This is still raw and visceral material, but I do hope you will give it a whirl.

The first, in so many ways. Adamas .


Adamas is one of the name variants you find for man, in particular, in general and in the specific sense; a person, in “gnostic” lore. The
Apocryphon, or Secret Book, of John – has a great recipe for men and women,
as they are being assembles by the microscopic imps the Archons (rulers) in the
laboratory of the Demiurge (half-maker,creator,architecht), each hoping to gain control
of each organ and tissue type, while collectively having “glory” in the new being they had
brought to life, and eventually to fleshly form. That old anthropological scheme, which is a magico-sympathetic one; ancient cultures, even today, believe that particular attention, ritual prayers,sacrifices, purgations, exorcisms, bribes and so on, can bring human or divine control over unruly,lethargic,weakened particular genius locii which still exists within the anatomy of the offspring of first man. We still “believe” tears purify, wind corrupts and sneezing exorcise evil influence…we have small imps banging on anvils with their tiny hammers when suffering through a particular bad consequence of our joie de vivre the night before….

Adamas should somewhere, someplace in all else that it is, as a musical
piece, contain ambiguity, complexity, conflicted powers that move around within some tense anatomy…

 

The most recent being, Heimarmene

 

Heimarmene means  fate in Greek . My thought were that of an opening into the irrational rationality of an already accomplished plot winding out as so many cuts of celluloid.
Have you ever felt that this moment, right now, has already been spent – that it is worn
thin, as a thin sheet of film being churned through the cosmic machinery? While Jim Morrison and the Doors made long and epic orgiastic rock opera out of the legend of Oedipus, fate, apart from romantic cliché, has apparently gone out of fashion. We are searching the great big sky full of galaxies opening up by the cryptomagical operations of our technology, and splitting everything, below the limit of the atom, that can be divided down towards the particle or particular one that does not allow itself to be divided, at least according to calculation and perception, we are finding our new fates; the predetermined course of biological life, expanding or imploding universes, the dialectics of capitalism and culture…

I have made a more controlled electronic reel which has more material in it than
will be present in the final cut.

 

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