Narrative Spaces was released in 2012 as a CDr in a limited edition of 300 copies available for sale directly from the artist : firstname.lastname@example.org
" Well, this time around I further surrendered to humble my double Scorpio nature and renounced to power electronics, shock waves of sounds, and to psych out the audience. Instead I opted by subdued, subtle sounds based on my field recordings in Japan, the poetry of the voices, and the overall feeling of quiet sound contemplations. Gone are the Tibetan sounds, the blasting, the explosive walls, and the general shock and awe tendencies of the Tibetan Red project. It was quiet renunciation, I just wanted to further explore the possibilities of my linear compositions. Instead, this time I opted by shorter pieces and play more with accents and subtleties, avoiding to overload the tracks with sound files and play with the quietness they required. However I could not avoid recurring to high frequencies as is now my usual tendency because I am fascinated by high and if possible invisible pitches. I also happen to believe - I don't know why - that high frequencies correspond to very high intuitional - read budhic - regions, or certain levels of the spirit world - read high Deva world. Now don't believe me on that, this is simple my presumption. But as I say they fascinate me and I need to explore them further into more and higher and if possible invisible fields of energy. But this is another story. I just give you my overall impression of how I feel about the sounds I am seeking to convey. In reality this is a counterpoint to the work I am carrying on with my paintings which try - in essence - to depict fields of inner experiences that occur in certain etheric planes that for me - naive as I am - think happen within the Soul's own Plane of or at least the intuitional world. But believe me, there is no way to know this for certain unless some far out writer immersed into esoteric philosophy could venture into trying to articulate something about the paintings along this lines. So this is the outline of the experience. Now for the details:
Track 1 - Portrait Of An Ascension
It is about the painter Roman Opalka whose paintings I saw for first time at the Art Gallery of Ontario around the 80's and was utterly impressed by his immense work "the tenacity of the concept" and the shear power of its quietness. His meditations on the nature of the Infinite ignited in me a special interest and I begun working about doing a piece about his inner work. A couple of years back they did a documentary on the German Television channel ZDF about him, and I happen by chance and privilege to see him painting and reciting like mantras each number as he was advancing on the canvas. The sound and depth of his quiet voice was very impressive, it sounded like inner poetry, as if it was the voice of his Soul numbering the numbers. The reason for that - I believe - is that as he was painting the numbers with such an intense care plus the very strong focus of attention required for each number, he was slowly drawn towards another dimension, the nature of it only he could know it with certainty. But we may have a glimpse of the high level and quality of this inner space when we give some consideration to the scope of his intent. In 1965 he began his first painting of what would become a magnificent project. His idea was to keep numbering on canvas all his life until the Infinite. Also, and this is really fascinating to me, was the fact that as he was advancing on each numbered canvas the colour of the paint in the numbers would become more and more clear as to make the numbers disappear into the Light of Infinitude. He was probably under the inspiration and guidance of the Lipika Lords a series of mysterious Cosmic Identities which in esoteric cosmic psychology it is said run and control the Cosmic Cycles of Time, and Rebirth.
He died in August 2011, and me without knowing it, I was composing this humble and short homage on sound to his immense work.
Track 2 - Encounter At The Taizo-In Temple
For this recording I used an afternoon walk I took on this beautiful Japanese garden and temple. I had a great time taping my walk around the garden. To this walk I added the voice of a shaman woman enticing me, talking to me from the invisible world, as if she was hovering over the park and temple exhorting me about the spirits living in the park as if I was irrupting into their quietness. She was enchanting and invoking saying all sort of powerful things about the spirits. Her voice belongs to the Sel'knam group of Indians of Tierra del Fuego in Argentina. When the recording of her voice was taped in 1966 there were only ten remaining people of the Sel'knam group. Lola Kiepja - her name - was the elder of the group and was 90 years old. She was the last medicine-woman, and died four months after the recording was made. She had a venerable impressive craggy face that commanded veneration. Our "meeting" in the spiritual world was a unique and beautiful experience. I thought the combination of my own walk, the silent pauses, the park atmosphere, her voice as well as the energy of her spirit was something to celebrate.
Track 3 - Geisha's Walk
One afternoon we were walking round a park in Kyoto, when we saw two beautiful geishas walking toward us. We decided to follow them for a while as I was recording their beautiful walk. Their walk was impressive in sound, and delicate in execution, denoting sensibility, subtleness and a special grace. The presence of the two women in the park avenue mingling with the usual contemporary crowd was strange and fascinating, they were not a curiosity, or an attraction, more importantly to me they were the voice of a remote and strange past where poetry was about living and grace was a mark of being.
On our bus ride to the park I had also taped the voice of a woman announcing the bus stations. The delicate sound of her voice may be very typical if you want, but to me the enunciation was like science fiction. I liked so much the sound of the two specific words nominating the bus station, I did not hesitate to use it.
Also the previous day as I was in my way out the Taizo-in garden, first I heard, and then I saw a street vendor which marvelled me at the beautiful intonation of what was probably a very old traditional song or call announcing his wares. I should have gone to see him but I was so mesmerized by my experience at the Taizo-in that at the time didn't think about it, I wanted to remain empty. With all this recorded events I thought about doing a piece that would encapsulate all these small but beautiful sounds into a whole. The sequence immersed me into a space where melancholy and the remembrance of things past would play conforming a mosaic of sounds.
Track 4 - Invisible Voices
This recording was taken at the Kyoto railway station and other related places during our stay in Japan. I was totally fascinated by the shear activity of the stations, the voices, the announcements, the entrance and departures of the "Shinkansen" speed trains. The total atmosphere was truly a hypnotic experience. The trains experience in Japan was like being thrown into a giant grown up playground. So I taped and taped the ins and outs of the trains, the voices, and multi layered activities and motions. One of the voices particularly struck me for its intonation and sort of "chant". I thought this was not only intriguing and hilariously shocking to me but also I perceived a sort of poetry from the "invisible gentleman", that was unique in itself. I also recorded our "Shinkansen" ride to Tokyo. The long run gave me the opportunity to tape long stretches of sounds which reflected the tremendous speed of the train. The friction of the rails along with the speed of the train piercing space and wind plus, the occasional crossing of another train in the opposite direction resulted on enough "themes and variations" to consider the possibility to work with them. This unusual situation and extreme experience to travel so fast inside a machine, clamoured for some kind of presence from the spirit world connection. It was unreal in itself. It was then when I decided to include some invisible shaman voices to be present in the surreal world of iron and speed as if they have been invoked by ultra technology. For that purpose I extracted the voices of the Upper Xingu Indians from the Mato Grosso plateau in Amazonia, Brasil. This was one of their initiation ceremonial songs which I thought to be very appropriate for the occasion. The intention was to insinuate that "invisible presences" are everywhere in the parallel worlds of our experience.
I hope you can enjoy if not all, some of the sections of this work which may appeal to your consciousness. "