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thesunlounge · 3 years

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Reviews 367: The Visitor

A couple of years ago, Ai released II, which for me is one of the very best albums of space rock, psychedelia, and kosmische ever conceived…a sort of epic paean to all that is great about the tripped out planetarium sonics of both the early 70s and the early 90s. The album was put out by Hauch Records, an experimentally-minded label operating in the German underground that explores much else besides cosmic rock, including minimal drone, ambient, and dub amongst a range of other moods and styles. The label has a longstanding relationship with Ai, having also released the band’s self-titled LP in 2015. But even before that–back in 2011–Hauch released a record called Imitation of Nature from Ai’s keyboard shaman and synthesizer sorcerer Frank Bauer, who on his own explores imaginative worlds of modular magic as The Visitor. Earlier in 2020 and after an extended period of silence, Bauer and The Visitor returned with Installationen, a new LP+digital release on Hauch featuring music that accompanied an art exhibition in 2019, and that sees Bauer rigging his modular setup to play itself, which to paraphrase the liner notes, creates structures based on dualisms between repetition and evolution, and between composition and spontaneous generation. I’ll also mention here that for those who want more of these mystical modular incantations, Installationen was immediately preceded by a an EP called Instrumentals that contains four further pieces from the same sessions.

The Visitor - Installationen (Hauch, 2020) “Installation I” opens with twinkling bell tones drifting in a fog, while android idiophones vibrate through a cold cosmic wind. Liquid oscillations evoke UFO landings as they periodically swoosh upon the mix, and also serve to provide the track with the barest semblance of structure. Industrial scrapes transform into fractal shards as they travel radially outwards, and airy pulses of bass signal mysterious pauses. Distorted feedback fades into mist and snaps of synthetic air land amidst cascading layers of growing and overblowing ambiance…all as chemtrails soar through a cloudy winter sky. Machines purr and coo while gong mallets strike massive metal pipes, creating waves of subsonic wonderment. Ghostly vocalizations intermingle with animalistic growls while organic clouds of bass hum emerge then disperse. Computers flicker and pulse as they execute strange algorithms which cause glitching tracers that repeate at hyperspeed, and the music alternately evokes for me the work of Experimental Audio Research, and Natural Snow Buildings at their most cold and abstract. Then, as everything starts fading, the track airs out, with temple tones sitting beneath a hopeful wash of synthesis.

In “Installation II,” a randomized robot orchestra tunes to the dawn, as machine strings and modular horns swirl into a mysterious miasma. Shadowy tones and glowing strands of starlight intermingle as buzzing blankets of interstellar warmth meet glacial walls of shimmer and shine, with sinister bass synthetics evoking the shadowspells of Igor Wakhevitch. Billowing banks of laser light, silent screams of feedbacking static, and fluid flashes of molten crystal flow together before giving way to moments of sickly tonal meditation, as bass buzz and midrange hum move through chromatic slides and disturbing harmonic abstractions. Hovering clouds of reverb and delay shade in the empty spaces with spectral hues and obscuring layers of interstellar dust, pillowy pads drift over one another in a deep lullaby dance, and blinding rainbows are birthed from decaying plumes of smoke while elsewhere, thousands of viols scream and scratch into a wall of drone mesmerism. Sorrowful whale songs distort beyond comprehension as they diffuse through star oceans and slow motion oscillations are born of resonances and misaligned vibrato until the track devolves into a primitive loop, which is chopped even further by a locked groove.

In “Installation III,” percussive sequences and modular electronics evoke tropical jungle hand drum ceremonials and minimalist mallet cascades as a shaman casts spells of fourth world magic overhead. Swaths of static blow in like a psychedelic breeze, satellite broadcasts flow around muted computations, and cracks in the ground spew vapors of all possible color. Bassline shadowforms add a further sense of groove…these barely there thuds and pulses repurposed for a forest fusion jam out…while blips and pings create virtual tapestries of insect chatter and birdsong. Millions of modular marimbas are chopped and looped in real time, creating a mesmeric collage of futurist exotica, while elsewhere, swirling shimmers, mirage sonics, and sonar pings smear into cooling haze. It’s as if a hyperspeed conga line is working its way through an island rainforest paradise, wherein metalloid liquids drip from palm fronds into boiling pools of alien fluid, creating strange reverberations that diffuse in every direction.

The vinyl trip ends with “Installation IV” and a calming bath of buzz accented by twinkles and brass synthesis. Reversing wisps dance in the air, bell tones are stretched into infinitely tall vertical structures, and hypnotizing sparkles pan through wavering whooshes and subdued thumps. It’s a study in using constant motion to achieve sonic stasis, with every single element sparkling, swishing, and vibrating, yet somehow causing time to stand still. Healing tones of feedback grow in intensity before dispersing into glimmering bodies of glass, and the modular synths again evoke idiophones–this time mbiras playing some faintly heard paean to the shining sun. Piercing globules of light move backwards and forwards in temporal displacement and a serene storm of synthesis emerges…like an automaton orchestra activated by a slow and stately sunrise. Ascending phaser streaks and drunken bass synths execute a randomized dream dance while all around, clustered gemstones refract solar light into an infinite web of chiming magnificence. And just as the A-side terminates with a locked groove, so does the B-side, with washed out loops cycling peacefully and eternally.

The trip continues into the digital realm with three further tracks, the first of which is “Installation V.” Smoldering drones and feedbacking flute tones move through atonal harmonizations, while a slowly growing pulse of fevered ambiance enters the scene. Melody is mostly abandoned in favor of texture and resonance, as a malarial fog of silvery synthesis and smoke-shrouded distortion generates flashes of white light and voids of deep darkness. The vibe progressively turns more hopeful as the harmonizing layers ease their oppressive dissonance amidst the calming dances of sci-fi pixie dusk. And from here, the track begins to resemble a mystic sound ceremony, with modulars mimicking gongs, bowed cymbals, and Tibetan bowls while sea crystal pan-pipes are effected into radar bleeps…the whole thing like the Theatre of Eternal Music or Pelt transformed into a machine meditation. As for “Installation VI,” plink plonking and madcap Berlin schools sequences fire, with cut-off manipulations moving the sounds between starlight sparkles, percussive pops, and broken morse code transmissions. The sense of motion and energy is completely arresting in comparison to the preceding track’s sonorous serenity, especially as tick tocking twinkles of multi-colored diamond rotate in maddening patterns. Mysterious vocal tones hover in the background…like chopped and looped mermaid choirs…their gothic ocean arias pulsing at lightspeed and calling to mind Klaus Schulze’s earliest epics, as well as Popol Vuh’s soundtrack work. Indeed, the track almost resembles a Herzog-ian river trek at times, only as if proceeding in hypersonic stop motion, and with minimal melodic development interrupting the interlocking sequential stardance.

The final piece is “Installation VII,” which begins with howling winds and phase-shifting cymbal splashes. Subsuming drones of darkness sit beneath zipping lasers and rushes of white noise, while percussive electronics ping-pong back and forth…their tones evoking hand drums and rainforest mallet instruments. Subsonic slides give a lazed shape to the groove–as well as a feeling of portending doom–and liquid gurgles join hydraulic machines and their vented puffs of compressed air. Sprays of crystalline vapor are as harsh as they are transfixing, and resonant fog banks quiver while obscuring all sight as gaseous blasts of light spread towards some infinitely distant horizon. At times glowing clouds of tonal mesmerism enter…these golden washes of hovering feedback and oceanic vibration that intermingle with sonar synths and wobbling walls of mutating drone mysterium...and again, the modulars evoke the meditative tones of gongs and temple idiophones. Granular blasts of galactic sound arc across the spectrum, ghostly melodies emerge at times while giving off an oscillatory glow, and towards the end, shimmering clouds of sound flow in, churn in place, then mysteriously disappear.

(images from my person copy with download code purposefully erased)

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3ezentrum3-blog · 6 years

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Sound Healing with Tibetan Bowls

Sound mending is quickly picking up acknowledgment globally as a necessary piece of the recuperating procedure for disease patients. It has additionally been powerful in assuaging torment and in the treatment of stress related sufferings, for example, constant weakness disorder, fibromyalgia, sleep deprivation, agony and gloom. Standard restorative training offices like Duke University and the University of North Carolina have included projects that connection body/psyche and soul to the treatment of disease. Tumor Prevention focuses are using sound as a crucial piece of the recuperating procedure for patients with astonishing outcomes.

I, in the same way as other healers trust that ailment is an indication of dis-concordance inside the body; an awkwardness in the phones or a given organ and that recuperating can be accomplished by reestablishing the ordinary vibratory frequencies of the ailing, out-of-amicability parts of the body. Vibrational mending, particularly with sound is a strong method for reestablishing the body to its ordinary vibratory recurrence.

All issue is vitality vibrating at various rates and by modifying the rate of vibration we can change the structure of issue. For this situation the recuperating procedure is started by entraining our brainwaves and making thoughtful reverberation with the ideal vibrations of the dishes. When we add aim to the recurrence, the recuperating potential is expanded much more. That goal can be through petition, droning, and even quiet engaged consideration, however pronouncing it in a capable of being heard way is ideal.

Another method for saying that is the key condition of the universe is a condition of total agreement. Our center state, since we are a piece of the normal universe is additionally one of agreement and incredible straightforwardness. When we separate from our center state through pressure, diversion, ailment and the difficulties of every day life, it makes dis-ease: otherworldly, physical and mental. Sound from the Tibetan bowls tenderly pokes us back to our common condition of joyful serenity and arrangement.

Dr. Mitchell Gaynor, chief of Medical Oncology and Integrative Medicine at the Cornell Cancer Prevention Center in NY has been utilizing sound, including Tibetan Bowls, Crystal bowls and Chanting in work with tumor patients for a long time. "In the event that we acknowledge that sound is vibration and we realize that vibration contacts all aspects of our physical being, at that point we comprehend that sound is heard through our ears as well as through each cell in our bodies. One reason sound mends o n a physical level is on the grounds that it so profoundly contacts and changes us on the enthusiastic and otherworldly planes. Sound can change lopsided characteristics on each level of physiologic working and can assume a positive part in the treatment of for all intents and purposes any restorative issue."

As indicated by an article in Spirituality and Health magazine Dr. Gaynors' examination demonstrates that the sound vibration of the dishes influences the disrhythmic movement found in tumor cells and cause an amicable change. In a visually impaired examination he found that there was a half shorter recuperation time from chemo patients for the individuals who utilized the dishes consistently and that when bowls were utilized as a part of the beginning times of disease, amid meetings with patients, their level of nervousness and stress was significantly lessened.

Envision how making a strong, well pondered ones future would be enhanced in a setting drained of pressure and nervousness. Envision additionally how the capacity to more than once interface with that feeling of peacefulness amid the distress of chemotherapy builds the personal satisfaction for growth patients.

Research by Dr. David Simon, medicinal chief of neurological administrations at Sharp Cabrillo Hospital in San Diego and therapeutic executive at the Chopra Center found that serenades are synthetically utilized into 'endogenous sedatives', that follow up on the body as inside painkillers and mending specialists.

In my own exploration with sound utilizing biofeedback gear I found that the music delivered by the Himalayan (Tibetan) Singing Bowls have transformative capacities (mind movement, heart rate and body temperature have lessened amid sessions) making a profoundly tranquil condition of being while at the same time stimulating the cerebrum.

Biofeedback is a deductively legitimate estimation devise used to enable people to increase willful control more than a few diverse Autonomic Nervous System capacities. Research has demonstrated that when breathing and heart rate are in sync this creates a thunderous recurrence in the body (like the reverberation being delivered by the Tibetan dishes). This is to a great degree useful for the heart and the whole body. Stress related disarranges, torment, and numerous different issue are anticipated by regardless of whether a man is accomplishing cardio-respiratory synchrony. Amid sessions of Tibetan bowl sound treatment, cardio-respiratory synchrony expanded drastically as estimated by J&J Engineered Biofeedback gear. Information demonstrated that amid the sound treatment sessions there was an expansion in Parasympathetic Nervous System movement and diminishing in Sympathetic Nervous System drive. The unwinding reaction was started and the pressure reaction was repressed. This implies the Autonomic Nervous System was adjusted for most of the session. The reverberation of the dishes created moderate breathing of around six breaths for each moment which delivered gainful consequences for the heart and entire body.

These outcomes are promising in that Tibetan bowl sound treatment increments cardio-respiratory synchrony and reverberation inside the body. In this manner, there are numerous clutters that can incredibly profits by the utilization of Tibetan bowl sound treatment.

My customers have upheld the logical discoveries with reports of everything from alleviation from agony and inconvenience, clearing of sinuses, moving out of sadness, capacity to rest (for those with a sleeping disorder), re-vitalization and clearness, feeling of prosperity, awesome connectedness and profound individual change. Customers report a key move in their perspective of wonder space, emphasizd clearness of brain and body, improved innovativeness, force, happiness and feeling of peace."

It is essential to take a gander at what mending truly is and what the distinction is amongst recuperating and relieving. A fix is the "total organic determination of an ailing state", as indicated by Dr Gaynor in his book "The Healing Power of Sound". Recuperating, anyway has more sweeping ramifications that happen on passionate, profound and physical levels. It is a regenerative procedure wedded to an otherworldly arousing that can have significant results on ailment, sickness and all parts of our lives.

Himalayan or Tibetan Singing dishes have been followed to the shamanistic Bon custom which originates before Buddhism by a great many years. Dr. Gaynor says in an article in Shamans Drum magazine that the reason sound (and droning) are as yet utilized as a part of shamanistic societies is that the sound instigates stupor conditions of awareness helpful for mending. The old Himalayan Bowls are produced using a blessed seven metal compound which, when skillfully empowered, deliver five individual and concurrent tones, each at its own reliable recurrence, which vibrational-ly hit the dance floor with each other. The crude materials were gathered, refined and cleaned, thrown, warmed and pounded into shape and tone. Mantras or consecrated serenades were sung and imbued goal into the dishes. Their sound synchronizes conscious cerebrum waves and makes a helpful impact upon the psyche/body acknowledgment. .

Singing Bowls, deliver the primordial sound of 'AUM': The principal articulation of vitality transforming into issue. They adjust space, brain and time; arousing cell memory and recuperating the vitality body. The demonstration of tuning in to their spellbinding suggestions viably stops one's inward exchange, the 'Monkey Mind'. The individual is transported into a space of serenity and adjust where the 'All inclusive Chord', found inside every self, is contacted, joined with and comprehended. The Universal Chord maybe, that is the primordial substance from which our entire the truth is made and from which our Universe began. In spite of the fact that the vibrational vitality of the dishes can be coordinated to a particular zone for mending purposes, they work more on a basic level.

These instruments are utilized inside reflections and physical vibrational mending methods. Their consonant reverberation is utilized to:

- reduce stress and torment

- adjust vitality

- make essentialness synchronization and unconstrained recuperating.

- effectively change cognizance into a serene and extensive thoughtful state. (daze acceptance)

- meditation

Diane Mandle is a Certified Sound Healer situated in Southern California. She keeps up an incorporated Body/Mind private practice and directs introductions and shows across the nation on mending utilizing the Himalayan dishes. She can be come to at 760-944-3441 or [email protected]. Her CD "Come back to OM" is accessible on her site at http://www.soundenergyhealing.com

References

Otherworldliness and Health, Aug 2003

Shaman's Drum, Number 63, 2002

Richard Rudis (Sacred Sound Workshops)

Johathan Goldman, "Sound Healing"

Diane Mandle is French/American who has lived and voyage around the world. She has considerable experience with performing expressions from Stephens College where she graduated in 1972. It was there that she was acquainted with Buddhism, and her enthusiasm for this has taken her to Nepal and Sikkim a few times where she could develop her comprehension of the way of life where the Sacred Sound instruments were made and used.

She has been working in the recuperating calling for more than 6 years with an incorporated body/mind rehearse that incorporates centered discourse, vitality adjusting and Sound Healing. She is the main State Certified Tibetan Bowl Sound Healer in the nation. Notwithstanding her private practice, she directs shows, workshops and instructive projects broadly, is a normal moderator at the Chopra Center and is a highlighted entertainer on another CD, Turning Pain into Serenity by Clinical Psychologist Michael Samko, Ph.D. Dianes claim CD

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