bigover.gif It's Springtime at the AmbiEntrance and all the rituals of rebirth, rejuvination and reanimation put me in a ceremonially celebratory state of mind. Here's a heap of assorted offerings with a wide range of tribal and/or ethnic flavorings. Enjoy!

Steve Gordon & Deborah Martin: Ancient Power   (Sequoia/Spotted Peccary - 1998) (8.2)
Modernized Native American sounds from multi-instrumentalists Deborah Martin (keyboards, acoustic guitar, percussion) and Steve Gordon (Native flutes, assorted guitars, mandolin, percussion) and contributors (including White Mountain Apache, Edgar Perry, who "plays" the ceremonial medicine belt and various drums). The eight tracks (from 3:19 to 10:38) receive ethnic percussive textures from deer claws, turtle rattles, rainsticks and shakers. Sometimes with slow, tribal beats and often flutes, the low-key pieces are serious studies in sound (not some hoaky "powwow" music). With the Coming of the Wolf comes a slow-moving haze ruffled by acoustic guitar plucking. Earth Dweller soars on symphonically swelling string and brass sounds, seeming much more airy than earthy... If you're looking for a Native American-influenced ambient/new age hybrid, this could be the one.

Peter Gabriel: Passion   (Geffen - 1989) (8.4)
The soundtrack music for the Last Temptation of Christ contains 21 tracks (most within the 2- to 4-minute range, with a few longer or shorter). The Feeling Begins with mounting pressure exerted by a flurry of primitive drumbeats over an ominous drone. Some tracks (like A Different Drum) are gussied up a bit, with contemporary vocal stylings (For a second there, I thought it was Michael Bolton wordlessly wailing!) Several tracks employ a modern symphonic sound, as is the case with Stigmata or With This Love which resurfaces in a boys choir version. Passion features Jon Hassell's trumpet and Nusrat Fateh Ali Khan's unmistakably enflamed Qawwali vocals. A serious (and appropriately cinematic) collection of neo-ancient ethnicity, this is defintely not the "Sledgehammer" pop-style Peter Gabriel.

His Masters Voice: Singing the Boundaries   (Manifold - 1996) (8.3)
The main theme behind this collaboration is based on a Yaqui Indian legend, though the sounds within fall into a more "experimental" category. Rattles and drums appear, as do contact-miked wire fencing, samples, guitar and other instruments, but everything then received a series of digital processing treatments by R. Kitch, and the result isn't at all straightforward. Randy Greif and Jeph Jerman contributed various bits, pieces and samples which were woven into the everchanging blanket of "Western" flavored tones, noises and rhythms. The two 27-minute-long tracks (four tracks according to the liner notes?) are exploratory, moody and quite interesting (though someone looking for "straight" Indian music would most likely be bewildered).

Hybryds: Rhythm of the Ritual   (Charnel Music - 1994) (7.7)
As revealed here, there are many ways to reach a point of ceremonial transcendence; through female vocals wafting through an obscuring cloud of tribal drumbeats, as in the opener, or (in The Ritual of the Rave, Part 1 (computermix)) with a murkily trance-inducing rhythm and slightly electronic edge, or yet again through the flute, drum and didge-fest of Nameless One. The two ethno-mythical closing pieces are each over 20-minutes in length for a totally immersive atmosphere to accompany your own dark rites (or whatever you do with the lights out and this disc in). The Hybryds (Belgian duo, Magthea & Yasnaïa) definitely seem to take their rituals seriously; apparently-earnest intonations (appearing in several different tracks; female, male, moaned, growled and whispered) failed to summon some Cthulu-creepy only because of my uncooperatively cavalier disbelief. Hazy, ominous and as powerful as you allow it to be.

Loren Nerell: lilin dewa   (Side Effects - 1996) (8.3)
Unlike many artists who attach themselves to a particular ethnic sound, Loren Nerell has actually spent time in other lands, learning other musical cultures first-hand, specifically Gamelan (pronounced Gah-Meh-Lahn) music of Indonesia. Created with an arsenal of exotic instruments and field recordings from Java and Bali, lilin dewa immerses the listener in an exotic soundworld.

Galungan, which manifests itself as discordant, repeating drone/tones may prove too much for some listeners... On the other hand, the 20-minute-long Hiasan (Ornamental) takes a particularly minimal/ambient route via usage of the soft, bell-like tones of thekempuls (small knobbed gongs generally used only as musical punctuation). Borobudur 4 AM includes atmospheric Javanese ambience (roosters, crickets, distant ceremonial wailing) as a backdrop for its hazily droning musical stirrings. For me though, the standout track is Bamboo, Iron, Resin, Bronze, a lively, yet somewhat eerie, tune titled after the four primary elements of gamelan instruments.

Moodafaruka: La Luna Lounge   (Global Groove Publishing - 1999) (7.7)
La Luna Lounge is not a glitzy place; it's more like an inviting tropical seaside shack where light, rootsy music is heard. Not ambient as such, but often quite laid-back, pleasantly uncluttered and palpably evocative of South America (and featuring slight Indian and Mediterranean touches). With a little help from Terrence Karn, Rom Ryan plays either his guitar or flute on each of these 13 ethno-folk pieces from 1:39 - 5:03.Baghdad Radio opens with trilling Spanish-ish guitar meanderings and light bongo patter. Sun, Moon, Sun strums up an acoustically rockin' whirlwind with raw (and to me anyway, unintelligible) vocals. On the slower side, Sleepy Shiva features echoey warbling flutes, and bell accents. Mix up your favorite tropical beverage and guide your browser to www.moodafaruka.com for further info, and RealAudio samples (MP3's coming soon).

Nusrat Fateh Ali Khan: Bandit Queen   (Milan - 1996) (8.9)
Music from (and inspired by) the Indian film Bandit Queen is highlighted (and composed) by Nusrat Fateh Ali Khan and Roger King. Khan's elastic vocal stylings are undeniably empassioned, but aren't actually thrown to the foreground as much as I'd assumed. More often, the 26 short tracks focus on assorted styles of Indian instrumentation (ceramics, tablas, flute, strings, etc.), White's keyboarding and occasional symphonic passages. Sometimes sampled sounds (wind, water, children, windchimes) are woven into the mix. The Quiet features a smoky, blues/jazz-style flute, before merging into The Passion where Khan's spiritually empowered voice flutters like a living breeze across deep underlying synth drones; the piece segues once more into an a cappella child's voice (over locational background sounds). Beautifully rendered and encompassing many moods, this is definitely recommended for Khan fans, or anyone interested in ethnically patterned sounds.

O Yuki Conjugate: Peyote   (Projekt) (9.0)
Thanks to Projekt for re-releasing this surging primal entity, originally released on Multimood, and recorded between 1988 and 1990. Primitive beats and tribal wails entwine stylistically with instrumentation that ranges from exotic to mundane (roto-tom, berimbau, fractal guitar, frying pan, to name only a few). As if warning "the jungle is alive... and dangerous", earth loop fragment is an ominous mood-setter, establishing an atmosphere which long pig takes even further with its menacing drums, hypnotic drones, hazy synthwaves and animalistic chatter. Haunting spirits seem to fill the air of still breath. The disc's closer is less threatening; tidal dance features soft billowing synth chords and bamboo-y beats. Eight tracks in 44 minutes isn't enough though.

Conrad Praetzel: Entrance   (Paleo Music - 1995) (8.2)
Impeccably produced though occasionally bordering new agey, these 11 flavorful tracks fall within a 3:45 - 4:50 minute range. Everything is built upon Conrad's synth and percussion samples, then added to by assorted musicians with various ethnic instruments. Gently lilting Lykewake Walk has a somehow Mark Knopfler-esque sound from Robert Powell's guitars and wordless vocals.Petra features more percussion and strings (or more specifically dumbek, tambourine, oud and violin) very nicely conjuring up a Middle-Easternish air of festivity. Warm servings of Stone Soup offer a tasty blend of electric sitar, dobro and flamenco guitar backed with pattering beats. Overall, a high quality release for the serenity-seeking musical traveler.

Temps Perdu?: Athanor   (Discordia - 1992) (8.0)
14 slightly creepy synth-based tunes feature tribalistic rhythm patterns and assorted instrumental touches. Eerie, whispery female vocals are woven through several tracks, as in Cum infamia which also uses clattering percussion and wailing flute passages. Into the wave is less structured and more scary... nightmarish thumps, wails and walls of rumbling distortions keep the listener disoriented. Dancier beats propel Magisch though the other synth elements retain a sense of darkness. Generally quite electronic in nature, but the various moods are certainly mysterious and charged with a primal essence.

Trial of the Bow: Rite of Passage   (Release - 1997) (9.5)
Absolutely stunning and entirely acoustic, Rite of Passage features richly produced ethno-excursions by Renato Gallina and Matthew Skarajew plus several guest musicians. The tracks range greatly, from the powerfully beckoning opener Father of the Flower or the medieval festivities of Ubar to the sweltering acoustic drone of The Eyre of Awakening or the rhythmic drumfest of Ceilidh for the Sallow Ground , or even the pastoral stomp of The Court of the Servant. I don't know how authentically these pieces recreate historical music, but the sound and spirit are extremely convincing. Highly recommended listening indeed.

Various Artists: Arrhythmia II   (Charnel House - 1993) (7.5)
Talk about different drummers! 16 assorted percussion-happy artists of various reknown contribute to this "compilation of percussive music". A majority choose tribalistic patterns and instruments, others use more contemporary drum sets with unordinary styles, while yet others bang on practically any old thing. John Loose's drum and didge piece definitely stirs the ancient dusts. Linda LeSabre of Beat Mistress whips up a certain amount of pounding sensuality with her track Primitiva. Hadn't heard of Trance but their beats over freeform ambient textures is intriguing. Other noteworthy artists include Life Garden, Left Hand Right Hand, Voice of Eye, Randy Greif, and Illusion of Safety.

Various Artists: Wisdom and Compassion   (Milan - 1997) (7.3)
A cross-section of Buddhism-related musical selections gathered from assorted previous releases. The first half of the disc presents stark textbook examples of a cappella chants and drones, from the brassy blares of partie to various solo ceremonial chants. The disc's latter half focuses on more stylistic tunes taken from The Secret Score and tracks from Little Buddha composed by Ryuichi Sakamoto. These lusher pieces range from purely symphonic to more traditional, with many snaking violin strings. My favorite, Raga Chandranandan, at over 11-minutes, sets a contemplative mood, becoming increasingly excited through pattering tablas and plucked strings. I wish the liner notes would have been more compassionate about imparting wisdom of the music, instead of doctrine.

Voice of Eye: Transmigration   (Cyclotron - 1995) (9.3)
I waited a long time to hear this; it was worth the wait. An all-acoustic recording which attains utterly surreal soundscapes. For 67.5 minutes, the tracks of Transmigration document the soul's mysterious afterlife journey, taking the listener through unbelievable sonic realms. Not too many ethno/tribal influences really, though Transcendence pairs densely quivering violin strings with pounding jungle drums, which are eventually joined by tweedling Middle Eastern flute. That track segues into the blaringly resonant drones of Sirens (which I first fell in love with as part of the 3-Disc Storm of Drones comp). Other notable passages include the multitudinous ghostly moans of the opening track, the whirlwind stratospherics of Tempest, and the murky festivities of Garden of Earthly Delights. Speaking of murky, it certainly gets that way in Oblivion (Bardo III), the almost-24-minute-long closing piece. Swirling soundclouds obscure everything else, eventually receding to leave a pristine silence which leads to further encounters I won't divulge here. Find out for yourself, if you can find a copy.

Posted April 28, 1999 | 1999 Overviews Index

AmbiEntrance © 1999-97 by David J Opdyke (except CD cover art, rights retained by original owners).