This four-album project is focused on music, rainforests and dreams . . .
There are several stories here . . . call them Fables if you wish. The first is
about a unique
collection of musical instruments created from materials in rainforest environments. Their
primal music sounds and sensations are warm, attractive, yet as they re-enter and become
immersed in these elemental soundscapes, they take on other identities and transform reality.
collection of musical instruments created from materials in rainforest environments. Their
primal music sounds and sensations are warm, attractive, yet as they re-enter and become
immersed in these elemental soundscapes, they take on other identities and transform reality.
Dreams are sometimes wondrous, yet they can also seem elusive, imaginary
fragments that
we have little control over. They just disappear. Even the sounds and movements in music and
dance, time and space, quickly vanish into thin air, yet our memory and imagination hold
events together. All entangled, there appears to be common harmonic properties that connect
music, mind, matter, dreams and nature together.
we have little control over. They just disappear. Even the sounds and movements in music and
dance, time and space, quickly vanish into thin air, yet our memory and imagination hold
events together. All entangled, there appears to be common harmonic properties that connect
music, mind, matter, dreams and nature together.
“My personal collection of instruments are children of the forests. Perhaps we
all are. More importantly they know
and understand nature’s environments. I think of them as explorers who have decided to return to their homeland,
renew relationships there, observe its environments and help us understand nature better.”
and understand nature’s environments. I think of them as explorers who have decided to return to their homeland,
renew relationships there, observe its environments and help us understand nature better.”
There are sacred things in this world . . . music is one of them.
Dreams can find correspondences to rich networks within nature itself, places
where great resources and subtle forces are kept. Intrigued by this idea I
decided to return to the rainforests, to memories, to the deep nature reserves
where music instruments were first fashioned. Once inside the forest we had
also returned to a time of dreams, and to places of deep seclusion where
imagination seems to transcend all others things.
where great resources and subtle forces are kept. Intrigued by this idea I
decided to return to the rainforests, to memories, to the deep nature reserves
where music instruments were first fashioned. Once inside the forest we had
also returned to a time of dreams, and to places of deep seclusion where
imagination seems to transcend all others things.
Behind the veil of appearances, many invisible Other Worlds are not far away.
We stand betwixt two worlds. One is different, subtle, imaginative and not
always visible to the senses. It holds all the desires, visions and memories that
we use to create and destroy things. We are tethered to the world we call
physical. Here we find great responsibilities to renew its resources and keep it in
better shape than we find it now. There are ‘other worlds’, ones beyond time,
spaces without boundary. They are not so far away as some might think.
We stand betwixt two worlds. One is different, subtle, imaginative and not
always visible to the senses. It holds all the desires, visions and memories that
we use to create and destroy things. We are tethered to the world we call
physical. Here we find great responsibilities to renew its resources and keep it in
better shape than we find it now. There are ‘other worlds’, ones beyond time,
spaces without boundary. They are not so far away as some might think.
Close to thresholds of dreams there are always stories. One particular fable
mentions a collection of older music instruments that emerged from the
rainforests many years ago. Some decided to return and explore their origins,
adopting sonic disguises that they might tread stealthy on the jungle floor.
Similar to shadows, they have surrounded themselves in patterns and rhythms
that nature knows all too well.
mentions a collection of older music instruments that emerged from the
rainforests many years ago. Some decided to return and explore their origins,
adopting sonic disguises that they might tread stealthy on the jungle floor.
Similar to shadows, they have surrounded themselves in patterns and rhythms
that nature knows all too well.
Rainforests provide opportunities for the old-growth networks of super-nature to
thrive. Humans, animals, vegetation and even water are a part of these ancient
old-growth systems. Our awareness is deeply connected there, so it is not
difficult to discover unusually populated spaces where Time itself is more fluid,
where we can access many other worlds. We move along now. Rivers of
consciousness stream in all directions. Over and over we retrace our steps,
creating small ceremonies of memory and magic.
thrive. Humans, animals, vegetation and even water are a part of these ancient
old-growth systems. Our awareness is deeply connected there, so it is not
difficult to discover unusually populated spaces where Time itself is more fluid,
where we can access many other worlds. We move along now. Rivers of
consciousness stream in all directions. Over and over we retrace our steps,
creating small ceremonies of memory and magic.
Seminal music works from Jon Keliehor include “Celestial Nile" (2005), “Ocean of Dreams” (2004), “East
Meet West” (2003), These albums explore 4th-World and experimental music territories. Using lavish
amounts of percussion, layers of textural and melodic sound-fields, they look closer at links between
remarkable instruments and magical fields of nature. Metallic gong textures offer a rich use of spatiality
and quite possibly a sense of alchemy. The music is fluid and multi-dimensional. Behind it all there is a
search for cultural origins, a hunt for a music mythology, deep respect for environment in a new music era.
Meet West” (2003), These albums explore 4th-World and experimental music territories. Using lavish
amounts of percussion, layers of textural and melodic sound-fields, they look closer at links between
remarkable instruments and magical fields of nature. Metallic gong textures offer a rich use of spatiality
and quite possibly a sense of alchemy. The music is fluid and multi-dimensional. Behind it all there is a
search for cultural origins, a hunt for a music mythology, deep respect for environment in a new music era.
