lost in a sea of sound

Saxophones are talking in a place far from this world. They squeal in pitches above comfortable levels, then vibrate with low releasing resonance. At times they speak in violent unison, a different language for each, then follow amazingly with echos between themselves in exactly the same moments. There are instances holding the softest murmurs, like they are trying to lull each other to sleep. Horns fading into dusk then darkness. The fingers behind them dance across strings, stretching and pulling a thick canvas. A texture filled with grooves, sometimes running in parallel lines, then attacking in perpendicular chaos. Deep frequencies holding sounds perched on wires, they fall only to grab the newly formed sonic strength below. The process continues outside of patterns and form, but everything together is metered by percussion. A tap then rapid rapport, connecting energy, then slipping away to let sounds grow. Drums conduct the sounds, bringing melodies close to comfortable thresholds

Poetry across crystalline music. The rhythm of guitar, bass and drums driving emotions into the depths of mind and body. Words describing dreams and a surreal splintered reality. Together, vocal reciting and tightly played music are both soothing and penetrating. Everything like lying on the acupuncture table, the intensity of pins piercing the skin is offset by the pinpoint pressure relaxing the nerves. Sky Furrows balances many attributes with beautiful agility. Beatnik origins escorted with exponential gracefulness into modern times. Poetry beyond its hours. Sonic process weighting absorbing thoughts.   Four artists, Karen Schoemer using voice, Mike Griffin playing guitar, Eric Hardiman picking the bass and Phil Donnelly behind the drums. For all the music that is new and fresh, creativity is fueled by love and inspiration from the past. These five selections are clear and beautiful. Production and style allowing each artist to equal each other in pure discernible impact. A progress

Seventy five years ago, Royal New Zealand Air Force Flight Officer, Hepburn, noticed increased radiation at sunrise and sunset. Hepburn was stationed on Norfolk Island and was in charge of radar station on Mount Bates. The station was designed to warn aircraft in between Australia and New Zealand. This discovery was in a scientific field outside of his expertise. He reported the discovery to the Air Force headquarters, and the information was quickly acted upon by Dr Elizabeth Alexander of the Radio Development Laboratory of the Dept. of Scientific and Industrial Research in Wellington. Dr. Elizabeth began her investigation and confirmed these readings were similar from other radar stations across New Zealand. She named the discovery the Norfolk Island Effect.           This is a very factual opening for music created by Diana Duta & Julia E. Dyck, but providing the context is as important as the beautiful music they have written. A composition created by two artist taking thoughts

The beauty of budding birth is weighted in unbalanced fashion by death and decomposition. How often is the spawn of life considered compared to countless instances of death surrounding us? Thoughts behind the slap of a mosquito, an almost mindless action killing a predatory tiny insect, to the senseless waste of war, too overwhelming to accurately fathom. This new composition titled Blood Soaked Sand descends in plateau like steps, an aural guide and Sherpa, both directing and carrying emotions to a place we all will visit. To ignore the frailty of all things is missed wisdom in the time we are living. Fortunately Credo In Deum gently grabs the elbow and leads us though the unknown dimension.   Blood Soaked Sand takes listeners through a nexus of sonic shrapnel. Exploding sound fragments finding arrangements like stones across a river, then disappearing into the turbulent medium. Starting withing a broken glass covered threshold on the first track titled Battered Wife Syndrome, listene

Thoughts becoming solidified in a world of dying life. Depth of distance now blanketed and vibrantly prominent. The settling low cover drones across the horizon, a misty layer holding turbulent energy above. Compared to a crisp blue sky with puffy white cumulus towers, the overcast usually carries the perception of being dreary. Sounds are very much like atmospheric conditions. General attitudes holding the same values, droning music dimly flickering with tones in the minor scale, sad and somber. This is like the heavy sky being considered wearisome. As with all things though, beauty is only a condition of the emotions of the participant. Simulacrum is a gorgeous dark ambient composition, but will only appear so when the listener is aptly tuned.  Nital Etch is a project of Kevin Lewis. Thirteen tracks under the weight of societal pressures. The constant forces of emptiness created by indifference, oozing in to sonic form. These selections are far from harsh though, they hold

A life of one hundred years is lived and is summarized by two dates of record. There is difficulty in grasping the fruition of this tremendous lengthy life, not many people live to be one hundred and in older age, thoughts are sometimes not clear. The struggles and complexities rest within the cataloged book ends, a compression of time applied after something is gone. When we think about our own lives, there is often wonder of how many people we have been. The child to young adult, the newlywed and then a parent taking care of parents. Responsibilities both grow and diminish with time. The two dates summarizing a life really only lay fact to how long it was. Tempus of Diminution hovers in these resting existences. Surfacing the mysteries and grandeur of the spirit through sonic swirls and cathedral like majesty.    Cloudsound has been a project by Lee Boyd for almost twenty years. The first release on Fluere Tapes was back in 2014. Simply titled Cloudsound, this composition covers mat