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your sounds are very imaginal. and the title fits the scenery so well
- the titles usually come later, and I don't feel a track is finished until I have a title I like - there are tracks that will remain in the can forever if I can't get a title - I'm not gonna put out titles like #212 etc., - but I admire people that do that - that has it's own vibe too!

Magnificence again and again Friend!
I owe you the debt of inspiration with your concept of archaeology of sound
I have little to do with these sounds ... they are too special to have been made by me - they are the work of Nefertiti, for it is She

Ghosts of conquerors
Ah you are a seer - I am humbled ... a thousand years of civilisation disappears as the door to the ancient wars is cracked open

glimmering silver liquids
mercury seal me and mummify me I live to die at this moment of precious metals
:she embraces herself among shattered mirrors, turning, feverishly spinning...faster faster
you see her, you are a visonary - these visitations and vastations have captured us delerious ... from the snake dances of Egypt to the Dionysian Bacchanalia we are wanton halo of flies
:
Peering down from atop the pyramids, the ancient graffiti decoded!
you are a worthy traveller into these regions ... I am learning so much from your candid gaze
Rich molten glow
we are in the era of the Pharaohs here, the age of gold and silver which flowed like lava

Excellent attack!
There's a secret here - using a metal plectrum ... why use a weaker substance on metal strings? plastic plectrums should never be used when serious attack is wanted: metal against metal: muscle against muscle - metal picks demand respect from the strings which come to heel like a good dog. Metal strings have nothing but contempt for plastic picks

Great sound design!
that's a very perceptive comment, drannic. I can tell from listening to your own stuff that the 'design' is a large part of it. Playing is one thing, a small part of it. 'Design' is the bigger part - forming designs in the mind's eye or else sonically on the canvas that we call sound. I can't use the word 'music' - it is too limiting - that's not to decry music, but 'sound' is a lot wider - indeed, 'music' is a term invented to describe that very limited playing with a distinct palette of sounds and rhythms according to 'rules' - a game therefore.

Once it is clear that your work is beyond the scope of ordinary musical works. It contain a variety of aspects aimed at the psychological impact. Maybe it's a new kind of psychedelia. Really impressive tracks.
: Thanks ... yes, you are pointing to something crucial: I have said that I am more interested in sound rather than just music. You are suggesting that the mind is the real subject - not just sound, not just music; the mind and the psyche ... the perspectival aspect of these things in relation to sound, and so something other than sound. You have planted a mighty seed there. I have long thought that psychedelia [psyche again] is something much bigger than the 60s. Psychedelia was the state of ancient man - when there were no demarckations between the arts and the sciences, between sound and psychology. Of course the 60s were very important for us now ... I have an uncanny feeling about Hendrix too ... I know its cliched to say that he wasn't an ordinary mortal ... but I feel this is true ...
I agree that "psychedelia" is an ancient concept. It was a kind of bridge between reality and the unknown. I think our ancestors reached the heights of excellence in the practice of altered states. But I would like to note that the most important part of ancient shamanism (along with substances) has always been the music, sounds, or part of it - the rhythm.

amazing jazzy guitar
thanks - it just came out like that - and then affected the shape of its own sonic environment and vice versa.

dali's car racing fast again, flat out, i can see the sphinx on the horizon.
great image -
*excellent* work. so well developed, such a great sound palette.

- I'm always looking for new colours, but at the same time always want to get 'the' sound ... that sound that Jimi always got, a throaty, valvey, tubey, analogish, brutal but woody sound; I hate it when things sound brittle and shallow - as can happen all too easily! I;ve junked a few tracks when they've gone that way. Development is another aspect, a compositional thing, On this piece the single line staccato phrases are contrasted with legato arco lines - contrast is part of development, and the staccato lines are reused again in the middle, and then at the end [reversed] - simple ABA development ... but that's all natural organic growth. There's good piece by Bill Laswell on improvisation in the latest Bass Player magazine, which I concur with - he tries to 'get lost' when improvising.
Yea, the get lost approach works well. I use the repetitive act of playing, the right incense, the right mindset, to get there and find the silence and the void. When time stops, it's right.
I like the ambiguity of 'getting lost'. We can think of getting lost as in losing yourself in a trance like state. Or, as Laswell meant, I think, actually lsoing where you are in the music - not knowing what key you are in, what beat you are on and so forth - and then having to get out of that - it reminds me of Jeff beck saying that whenever he made a mistake he repeated it to make it sound intentional
Yea, it's when the music overtakes technique proper and just is.
I must say I have little time for technical guitarists now - I still like McLaughlin, but only because he digs hard with his pick. Legato Holdsworthian stuff [or is it Ollie Halsall?], shredding etc. is great but it leaves no impression - I want sounds that scar me for life.
Posted 1 month ago1 month Jonathan Beckenstein says at 6:32:

I put that drum track down over the other one with tom toms, and just faded it in where it felt right! There's no keyboards on this BTW - the organ sounds are guitar synth
:
these get better and better.
that's some nice single line playing up front here.
Thanks - I got off on the auto-wah effect, and so reeled it out from there - it was the genesis of the piece, so all the other sounds derive from those initial flurries, which were searching for the sphinx, some how

lyrics

Some in the East the Sphinx do seek,
And others in the street or in
The number of the Beast
Or on the face of Mars,
A constellation of stars

In the archaeology of the ground
And in the sound of graves
And on the lips of slaves.

The question,
The answer
That Saves ....

credits

from The Valley of the Muses - space jazz instrumentals, released December 27, 2015

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Bill Boethius & Dali's Car London, UK

"The Dali of guitar noise".
Poetry settings, Cinematic Sounds:
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