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 | Robert Rich: Seven Veils (Hearts of Space - 1998) With Seven Veils, Robert Rich set out to create an "ecstatic" work; many of his fans will be in the same state as well. Hardcore addicts of Rich's organically burbling "glurp" may have to readjust a bit though, as this release is much more straightforwardly "musical", albeit exotically stylized. |
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Of course, Rich has long been using ethnic instruments and techniques (as well as Just Intonation tuning) in many of his previous releases. Here though, these elements take the foreground, rather than hanging as adornments on his free-flowing synthforms. The result is flawlessly-produced, ethnically-flavored music which provides a transcendental journey into the faraway mind-locale of your making.
Rich's meandering steel guitar (more of a Hawaiian-styled guitar sound, as opposed to a Wild West-style) forms the Coils that wrap around the opening track. Accompanied by a light drum rhythm and synth flow, the guitar first plucks, then slides through an exotic atmosphere. Midway through, a powerful and deliciously dark synth riff muscles its way into the placid scene and is joined by long, wailing almost-human tones. The guitar and bass of Alhambra (provided by David Torn and Andrew McGowan respectively) join Rich's meditative fluting and percussion in this sultry outing. Lazy, undulating bass weaves through a heat haze, while Torn's guitar takes on an erratic, electric life of its own. The Talisman of Touch hangs upon the slinky strings of Forrest Fang's violin, interlaced with Rich's warbling flute. Plunky, rubberband-y bass notes and subtle ethnic percussive effects also add to this piece, the shortest track at 4:52. Opening the Book of Ecstasy reveals 3 passages joined within the 15-minute whole. Exotic drumbeats stand out like beads along A Silken Thread. Another wailing presence soars with long, drifting string passages and shimmering effects. As A Hungry Moon rises, so does Torn's elastically roaring guitar, stretching and straining like a desert storm, calming as we enter A Desert Oasis where Hans Christian's cello works its magic under the palms. Ibn Sina rises and falls on waves of synth and a xylophonish instrument (which would most likely be Rich's waterphone, I suppose). Again, that snakily winding human-like wail threads its way through this piece, buoyed by persistently pattering beats. (Addendum 9/20: Robert has corrected me thusly... "The mallet sounds on Ibn Sina are synths. The waterphone actually makes the weird wooshing metallic scribbly sounds that transition between Book of Ecstacy and Ibn Sina. Inquiring Minds Want To Know...") Dissolve fades in on eerie whispers and muffled thuds, to soon be stirred by the reedy cry of Mark Forry's Balkan kaval (sounds like a flute to my ignorant ears, though...). The thick background murk swells threateningly as drumbeats slip through the air, 'til all, well... dissolves. An electronic drone and flute sets the stage for Lapis where Christian's cello performs deep, lolling exercises while odd little background sounds provide a distant bit of chatter. |
| Seven Veils' effect is mesmerizing, though I'll admit to being more deeply entranced by some of Rich's previous, more primordial releases. But, by all standards, this is still a wonderful collection, and I'll heartily recommend it to any fan of exotic sounds. One Ecstatic Thumb Up!
If you haven't already read the AmbiEntrance Exclusive Robert Rich interview, do so now! |  |
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