Mark O’Leary – Allegory of the Three Suns

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Genre: New Age, Avantgarde

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Allegory of the Three Suns

The Allegory of the Three Suns is inspired by the natural phenomenon of the refulgent verisimilitude of the optical illusion of three suns over the skies of Chelyabinsk near the Urals, the temperature was -23 to -25, the winter sunlight refracts through tiny hexagonal crystals which are invisible, thus creating the appearance of three suns.

The pastoral elegance and eloquence of the music reciprocates the above anomaly, albeit with a peripatetic disposition in the form of ambient soundart using narratives from the Changpa: a semi nomadic Tibetan tribe found mainly in Jammu and Kashmir and Changtang in Ladakh.

Metastasizing into an expansive veritable atheneum of ambient sanguine dialectics; music for the fjords in solstice, detritus of rhodes harmonies in juxtaposition with coruscating strings, trumpet playing the Himalayas, decorous yet delphic ruminations, a stirring porphyry of impressionistic post second Viennese school piano interjections and string sonatas, an eclectic smorgasbord of atmospheric discourse that soothe a pensive penchant.

Ascending the pergola to a pagoda, we thus enter the vestibule to a star chamber of contemplative enlightenment, chaste nymph, lion and the unicorn, we venerate in homage at the obelisk talisman to the last sentinel.

Frequency Curtain – Two Days In May

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Genre: Experimental Electronic, Avantgarde

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Frequency Curtain was formed in 2001 by John Grzinich, Rick Reed and Josh Ronsen, fusing Reed’s ancient sine wave generators and short-wave radios with Grzinich and Ronsen’s modern Macintosh laptops. The trio debuted at the Intersect 4 festival in Austin, Texas and the rehearsal recordings were released on Elevator Bath records. After Grzinich left for Europe, Reed and Ronsen continued as a duo, performing in Dallas, Houston and Austin.

The music of Frequency Curtain is a flowing continuum of sound and noise, incorporating analog and digital synthesized sounds, field recordings, electro-acoustic recordings and, most importantly, an improvisational attention to detail and active listening by the performers. “Glacial-palatial drones galore” was how one commenter described the sound. “An intoxicating and captivating kaleidoscope”, another. The two performances here were chosen to highlight the differences between shows a year apart.