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Intention

My music represents a journey, one that has taken me well beyond Western music theory into an understanding of the true nature of vibration.  Modern recording technology has allowed me to utilize the ancient tuning system known as Pythagorean.  This system opens the harmonic matrix to universal resonance because it is a curvilinear spiral of pure tones rather than a closed circle  of tempered notes.

When music is created from a deep understanding of the math and architecture of sacred sound, when the composition and audio engineering respects and aligns with universal harmonic law, the vibration resonates into the deepest levels of the human body/mind/spirit.  Growing up in the South Pacific I was exposed to sound from other cultures, the remnants of Maori microtonal music, Indonesian Gamelan, Tongan log drums, Hawaiian ukelele and slack key guitar, as well as Australian Aboriginal chant and didgeridoo music.  This ethnic music has a visceral effect that does not rely on the major/minor, happy/sad, tension/relief paradigm that underpins Western music.

My combined experience as a musician/composer, sound engineer and myofascial release therapist has inspired me to create music that is born from healing and rigorously tested in the clinical setting.  The feedback I receive in my treatment room is so much more detailed than if I were to have someone listen to my music and tell me what they think.  I am able to observe micro-metabolic changes in respiration, heart rate, cranial rhythm, fascial tensegrity, muscle tone, as well as subtle shifts in energy/chi/mana/prana.  All this data allows me to fine tune the  music to enhance the healing hypnagogic state.   While the music facilitates the relaxation response for a patient it must also provide entrainment, support, and centering for the practitioner.  Healing music embraces two archetypes – it is sacred sound, and it is work music.  Weaving these dual archetypes into  the compositional architecture of music requires great structure that appears structureless.

The therapy room is a sacred space, and the therapist, no matter what modality they practice, is in a powerful and sacred position. Giving healers a tool to remain centered and empowered is a primary objective of my work in sound and music.

We can’t control the choices other people make in their lives. We can’t control their preferences, nor would we want to. What we can do is assist them in returning to their center, to their true essence, so that their choices are born out of that profound connection to self. This is the basis of the healing work we/I do, and my music is a powerful ally in that regard.

Each of us in our lives have many unique experiences. How we synthesize these experiences is our Art.  My palate includes working with the producer of Queen’s Bohemian Rhapsody, chanting with the Lakota on the Pine Ridge reservation and treating both newborns and those nearing transition.   All this is reflected in my music.  

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Primal

Primal is composed of polyrhythmic layers, each layer an invitation to any kind of movement our body/mind/spirit is inspired to make.  The organic rhythms and patterns are based on the primal heartbeat. Each time you hear this music, each time you move to it, you will find a different space to inhabit.

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primal-hero

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Music is Everywhere

 “Songs used to be discrete products from artists to fans; now they’re becoming more like temporary tattoos,” - Eliot Van Buskirk of Evolver. FM. - “Music is finally everywhere.” Anyone can play anything in seconds through a myriad of online music services, he says, but “it’s not just the song that matters; it’s the context.”

I have to add that it is not only context but sequence that matters also.  The human brain retains music in loops, like neural sand paintings that impress geometric patterns on our short term memory while we search for past associations and emotional meaning. In the days of albums, vinyl and CD we learned the songs in a sequence the artist created intentionally as a flow of imagery and energy.  One song’s meaning bleeds into another, the images cross pollinating.

When  CD players came out with the random feature, able to move from a song on one album to another and assemble a new sequence, we began to experience our music catalogue in a new light.  The shuffle function on the iPod works this way.  When we hear a new sequence the songs are refreshed in our minds; the patterns and meaning have evolved, the context has changed.

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The Sound Beyond

After a relatively minor surgery (there is nothing minor about full anesthesia, however, and apparently there were complications)  I had a near total recall of where I went and what I heard while I was ‘under’.  One could liken this to a near death experience.  I can only say it was exquisitely beautiful! Sound and color were the same sensation and the sound was like the aurora borealis shimmering and glistening, refracting like rainbow prisms, like the delight of watching dolphins surfing the florescent wake that I once experienced during a full moon sailing adventure off the coast of New Zealand.  It was a swirling ecstatic ocean of sound.

I have since heard sound in a completely different way.  If I pause and listen I can hear the music in everything from the air conditioner to the drone of the distant motorway.

I continue to embed elements of that sound experience in the music I have produced.  One particular time we were mixing a string quartet part on the Well of Ancestors project and it all sounded rich and full, but the mix engineer said ‘something is missing’. I listened closer and agreed.  It turned out we had muted the keyboard parts that were playing resonant higher overtones and even though they are imperceptible in the music when we brought them back in the whole movement came alive.

I think modern technology has brought us closer to being able to replicate the inner sound of the cosmos, the sound current, but it has always been within us and all around us.  I am currently working on a new project where I took a different compositional approach beginning with ambient sound that I have collected (I take snapshots of sound the way others take photos) forests, caves, sacred spaces, and I massage the sound with filters and effects until I find the hidden tones and the music grows out of that.

I wonder how many people who have been through surgery have heard the strains of ‘heaven’s gate’ but because they don’t have access to MFR have no recall of the experience. Perhaps the music is frozen in them.  Perhaps sometimes it is frozen in us during a traumatic birth or other shock.

One certainly doesn’t need to go to near death extremes to hear the ‘music of the spheres’.  It is all around us. Nature is full of it, the birdsong, the crickets, cicadas, flowing water, the sea, all are reminders that we are surfing a blissful sound current that is life flowing through us (as the Navajo call it) like a holy wind.


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