|
"The inspiration and motivation by the avant-garde became my focus on how
to score The Surreal Sanctuary.
Utilizing in detail the recycling method, I've been currently using in
collaborative mode, got me to access a particular mood and atmosphere which
translates my fascination for this genre in sound but also gives me the
perfect ability to moderate my inspiration to an unique level of blending
and creating harmonies.
"Both albums (The Surreal Sanctuary, and its to-be-released companion piece, The
Contemporary Nocturne) present this method and incorporate
new elements, varying from electric guitar, double bass, and overtone
signing to the rare overtone flute 'Fujara'. To accomplish my project it
was a fine opportunity to score this work over two separate albums,
increasing the space of time to a maximum in which I could develop the
design according to my specific ideas and at the right pace.
"The work has been an unique opportunity to create a more intense and sombre
flavour in atmosphere and mood, contrary to the perhaps brighter and open
spaces I've been working with in my previous solo albums. Although the
double work has a more uneasy and unintentionally darker feeling, it's true
my goal is to present a collection of conceptual pieces that draw from a
different place than my previous work.
"Perhaps while the work requires more energy and attention to absorb, I
sincerely hope this collection of abstract and soothing collage music truly
contains an equally calm and introspective atmosphere to repose with." - vidnaObmana: April 28, 2000
The The Surreal Sanctuary's opener explores a pensive landscape as rendered by processed piano, electric guitar and Joris De Backer's double-bass contributions (but isn't it strange that a piece entitled Infinity (5:10) is the shortest track?). The track is overtaken by a mechanical thrumming which leads into Lamentation where a more human essence slips in via phantasmal threads of Jim Cole's overtone singing; sporadic flutebursts and bass notesfurther enhance this expanse. The piece lulls and becomes the eerily lovely The first coil, wrapped in a slowly oozing orchestral-like drone and underscored by grittily rolling textures. More fluting emerges to stroke the resonant airwaves, sometimes sputtering fitfully into the thickly wavering breezes.
With preternatural smoothness, silky ribbons slip through The profound isolates, weaving in near then stretching out and away. Almost imperceptible atmospheric touches add a marked sense of wonder to this divine isolation. Shining amid evershifting (and faintly gritty) streams of liquid tones, the Jewel of the underground sparkles with flickering caresses of the overtone flute. Other listed instrumentation for this piece includes electric guitar and harmonica (!?), though these sounds are covertly submerged in the tranquil, meandering flows. Steve Roach's spaciously questing guitar strands (a la Midnight Moon) slowly twist underneath the glistening bell-like twinklets which drip from the ceiling of The fragmented dome (17:53).
Instead of blazing, Obmana's smoky Flame warms and smolders, releasing the heat and energy of virtually unrecognizable electric guitar sounds and flickering bursts from the small fujara.
| 
