Abel Selaocoe: Shaman with a Cello

South African cellist Abel Selaocoe is redefining the parameters of the cello. He combines virtuosic performance with improvisation, singing and body percussion. Abel moves seamlessly across a plethora of genres and styles, from collaborations with world musicians and beatboxers, to concerto performances. But his solo shamanic performances are something else: he directs all his energy at communicating with the audience. He is both entertainer and minister, but he is also a healer, expanding the potential of his cello, and singing with a virtuosity that is never undermined by playing to the audience, gently coaxing them to sing along rather than resorting to the cliche of a hand-clapping accompaniment.

He has become a master of various pieces of digital equipment that enable him to create backing tracks--vocal, instrumental and percussive--with which he can play and sing along, as well as layering the sound by doubling voice and cello tracks. It comes close at times to being an over used gimmick, and yet, he knows just when to pull back from dependence upon the wonders of audio technology. In an instant, he will return to a masterful stroke of the cello's bow or a plaintive undulation of spine-chilling voice.

Selaocoe's resonant throat-singing is a wonder to behold, never just a display, but a way of conjuring the spirits of the ancestors he mentions in his introductions and invites into his performances. In a way that is common to so much African music, from the song of a bush village through to gospel, soul and rap. Selaocoe's show is not just superb entertainment, but also a form of teaching: his message is explicitly about love, community and healing. He brings all three of these essential qualities of humanity together in a way that leaves the audience uplifted and transformed. The wonder of Abel Selaocoe is that he can make any venue feel like a sacred gathering place. 

 

His debut album Where is Home? Hae Ke Kae on the subject of home and refuge was released in September 2022. It's dual title, in English and Sesotho, reflects the album's diverse program which draws from vibrant European and African influences: pieces inspired by South African and Tanzanian musical tradition share a space with works by J.S. Bach and Giovanni Benedetto Platti, some of which are renewed with instrumental and lyrical improvisations. The title of the album holds multifaceted significance for the Manchester-based musician: "Home is the place that empowers you; it's not only a geographical place but in people as well, where you can live a life of empowerment and not of oppression. I've learned to find my different homes through the cello." Abel Selaocoe represents Africa on the move.

Music Born of the Cold

Inuit throat singer Tanya Tagaq won the Polaris Prize in 2014 for Canada's best album of the year. Animism contained sounds never heard before in Canadian pop music: breathy throat singing, screeches, roars and other human sounds for which the English language has no names. Tagaq's music was ambiguous. She seemed a shamanic figure. 

 

Suddenly, she and other throat singers were everywhere. Indigenous artist Caroline Monnet incorporated Tagaq soundtracks into her hypnotic art videos. Some touring rock groups hired throat singers as opening acts. For a time, no television variety program was complete without a guest spot for throat singers.  

 

Tagaq may have seemed like a new and unique voice. But she had basically jazzed up a genre of Inuit music that has been performed on the land we now call Canada for thousands of years. Inuit throat singing, or katajjaq, is a distinct type of throat singing uniquely found among the Inuit. It is a form of musical performance, traditionally consisting of two women who sing duets in a close face-to-face formation with no instrumental accompaniment, in an entertaining contest to see who can outlast the other. One singer leads by setting a short rhythmic pattern, which she repeats leaving brief silent intervals between each repetition. The other singer fills in the gap with another rhythmic pattern.
 

The sounds used include voiced sounds as well as unvoiced ones, both through inhalation or exhalation. The first to run out of breath or be unable to maintain the pace of the other singer will start to laugh or simply stop and will thus be eliminated from the game. It generally lasts between one and three minutes. The winner is the singer who beats the largest number of people.
 

Originally, katajjaq was a form of entertainment among Inuit women while men were away on hunting trips, and it was regarded more as a type of vocal or breathing game in the Inuit culture rather than a form of music. Katajjiniq sound can create an impression of rhythmic and harmonious panting. Inuit throat singing can also imitate wind, water, animal sounds and other everyday sounds.
 

Notable traditional performers include Qaunak Mikkigak, Kathleen Ivaluarjuk Merritt, as well as Alacie Tullaugaq and Lucy Amarualik who perform in the katajjaq style. Several groups, including Tudjaat, The Jerry Cans, Quantum Tangle and Silla + Rise, also now blend traditional throat singing with mainstream musical genres such as pop, folk, rock and dance music.

 

Tudjaat (Madeleine Allakariallak and Phoebe Atagotaaluk) performed on the song "Rattlebone" from Robbie Robertson's 1998 album Contact from the Underworld of Red Boy. The album is composed of music inspired by Aboriginal Canadian music (including traditional Aboriginal Canadian songs and chants), as well as modern rock, trip hop, and electronica, with the various styles often integrated together in the same song.
 

To learn more, watch this video of Inuit throat-singing sisters Karin and Kathy Kettler from Canada. The sisters carry on the traditions of the elders from their mothers' village in Kangiqsualujjuaq, Nunavik, which is located in northern Quebec.

Joy Harjo: "I Pray for My Enemies"

In her first new recording in a decade, Joy Harjo -- the first Native American named Poet Laureate of the United States -- digs deep into the indigenous red earth and the shared languages of music to sing, speak and play a stunningly original musical meditation that seeks healing for a troubled world -- I Pray for My Enemies, newly released in March 2021.
 

Collaborating with producer and engineer Barrett Martin on this unique new album, Harjo brings a fresh identity to the poetry and songs that have made her a renowned poet of the Muscogee Creek Nation and one of the most authentic and compelling voices of our times.
 

In a recent interview Harjo said, "The concept for I Pray for My Enemies began with an urgent need to deal with discord, opposition. It could have been on a tribal, national or a personal level. I no longer remember. The urgency had a heartbeat and in any gathering of two or more, perhaps the whole planet, our hearts lean to entrainment -- that is, to beat together."
 

Latin Grammy-winning producer, composer and founding father of the historic Seattle music scene, Barrett Martin brings a new dimension to Harjo's unique sound-world -- her words and music spoken, sung and explored in a vibrant mix of classic instrumental sounds. Harjo and Martin describe it as "funkified spoken word" inspiring "elegant jazz, urban soul, and inner city, reservation grit." Harjo sings and speaks her poetry, as well as playing saxophone and flute, on an album she describes as "very much of-the-moment."
 

Martin holds it all together with drums, upright bass, keyboards and production duties on I Pray for My Enemies. He assembled an all-star band to explore Harjo's work, featuring Peter Buck (R.E.M.) on electric guitar and feedback; Mike McCready (Pearl Jam) on electric guitar solos; Krist Novoselic (Nirvana) on acoustic guitar; and Rich Robinson (Black Crowes) on electric guitar solos. Additional players include renowned Iraqi oud master Rahim Alhaj; trumpeter Dave Carter and percussionist/backing vocalist Lisette Garcia. Harjo's stepdaughters sing harmony vocals, and her husband Owen Sapulpa plays surdo drum on the album. 

 

Harjo defines songs and poems as distinctly different expressions, and both are featured in the 16 tracks that make up I Pray for My Enemies. Her words and music, older and newer, get a fresh new identity here. The album opens, however, with a traditional Muscogee song "Allay Na Lee No." "Music travels," she says, adding, "It travels through history, ancestors and especially loves ports and waterways."
 

Some of Harjo's defining poems appear here -- "An American Sunrise," "Fear," "Running" and "Remember" -- refracting her own experience as a Native American woman of her culturally defining generation. "Calling the Spirit Back," from an early collection of Harjo's poems, and the new song "How Love Blows Through the Trees" -- written when COVID-19 reached her home in Tulsa, OK -- echo the suffering of a world experiencing a pandemic.
 

"Once the World Was Perfect" is based on a version of a Muscogee Creek creation story, which describes a time similar to now. She says, "We lost our way in the dark, forgot who we were, then had to find our way again."
 

Vignettes and "licks" of songs and poems also appear on I Pray for My Enemies, ranging from the epiphany of "We Emerged from Night in Clothes of Sunrise" to the playful "trickster" piece "Rabbit Invents the Saxophone." Both feature Harjo's soulful sax. "Stomp All Night" delivers all the primal energy the title suggests, inspired by Muscogee Creek social dances. Harjo's poetic music is just the medicine the world need at this time.

Singer, Songwriter Annie Humphrey

Annie Humphrey is an Ojibwe singer, songwriter and visual artist who was born and raised on the Leech Lake Reservation in Northern Minnesota. Her father was a singer and musician and her mother an artist and poet. They showed her that she carried their gifts in her hands too. She has been recording music for three decades. Humphrey's music career began out of pure necessity. With two young children to care for, she began performing at coffee houses and local events. Over the years her songwriting has focused on a specific theme with a message to "Be brave and have a good journey."
 

One of my favorite Humphrey songs is "Spirit Horses" from her first solo release, The Heron Smiled. Activist and poet John Trudell performs with Humphrey on this powerful, moving song. The Heron Smiled won her national recognition as Female Artist of the Year and Best Folk Recording at the 2000 Native American Music Awards. A true form of modern folk music, this album is simply one of the purest, honest and beautiful collections of music I have heard in many years. In 2004, her second recording, Edge of America was released. It's a little darker than her debut album but an inspiring five star release. The title track from this recording was later featured on acclaimed Native American filmmaker Chris Eyre's film Edge of America.
 

Her latest album, Eat What You Kill, was released in 2019. It features poetic lyrics that speak of accountability and gratitude. Her powerful voice pours out over her piano playing, sweeping listeners up in a whirlwind of emotions and feelings. On one of her songs Humphrey sings, "show your babies all I know, live by the stories my mother told." She uses her music and lyrics to pass down stories and a way of life. Another song, "Now She Dances," is about sexual assault. The song is also about climate change. The way women are treated, and the way the earth is treated, are the same. The last track, "Aadzookaan," speaks about the apocalyptic prophecies to the generation coming up. It says don't be fearful because these things are going to happen. The last verse of the song talks about how everything we need is on our land--the medicine, the resources, the food, everything we need. This is why we're going to be okay.
 

Today Humphrey is happily married and has four children and two grandsons. They inspire her spirit and her art. Her special interest is Turtle Heart, a group she founded that works with youth in her community to promote positive lifestyle choices. She continues to write music and perform. In a recent interview she spoke about her music career, saying, "I have more songs I will finish. I don't have a plan in the music field. I've never marketed aggressively. I just plan to keep writing and playing."

Steven Halpern's "Cannabis Dreams"

Steven Halpern, the Grammy nominated founder of the sound healing movement, released a new album, Cannabis Dreams. Cannabis Dreams is the latest of Halpern's 100-plus music albums that for over 45 years have helped his listeners manage stress, reduce pain and facilitate sleep. I still enjoy listening to his 2001 CD release, Chakra Suite: Music for Meditation, Healing and Inner Peace. Cannabis Dreams is among the first to link healing music and healing cannabis, whose ancient roots trace back more than 5,000 years. The 11-track album features Halpern's signature sound, an electric piano combined with hypnotic brainwave entrainment technology. The music supports relaxation, healing, meditation and spiritual well-being.
 

The seed concept for this album was planted in 1982 when an anthropologist handed Halpern an extraordinary cannabis strain used by an indigenous Alaskan shamanic healer. "One toke, and I heard music in a very different way," says Halpern. "It inspired an improvised grand piano jam that was different from anything I had recorded previously. I wondered if certain other strains might inspire a new composition if used exclusively. The answer turned out to be Yes."
 

In 2015, Halpern was invited to be a Celebrity Brand Ambassador for a leading Cannabis dispensary. Although the collaboration was short-lived, their top shelf strain, called Mystic Haze, evoked a meditative, healing and spiritual high, and inspired the several variations of the title track on Cannabis Dreams.
 

The album was completed when Halpern read about the new spiritually-uplifting strain released by entrepreneurial musician Carlos Santana and Left Coast Ventures. "After hearing music in meditation after sampling this strain, it was obvious I needed to include a new track inspired by Mirayo by Santana," he said. "I was able to book time in a recording studio on 11/11/20, and two extraordinary compositions now complete the album."
 

The spirit of each strain speaks through the music. Deep alpha brainwave entrainment tones are subtly mixed into the music, which entrain your brain to higher coherence to further support your immune system functioning. The artist suggests that one "grabs a set of headphones for the full psycho-acoustic effect." Cannabis Dreams is Halpern's heartfelt "thank you" to the master growers who keep improving on the spiritually uplifting and creativity-enhancing strains.

The Modern Shamanic Sound of Namgar

"Nayan Navaa" is the superb new album from Namgar, a band that plays modern sounds rooted in traditional music from the Republic of Buryatia in southern Siberia. The Moscow-based band led by renowned female Buryatia vocalist Namgar Lhasaranova features Buryat, Russian, Tuvan and Norwegian musicians. Together, the band presents a unique multi-ethnic musical mix that includes shamanic vocals, throat singing, galloping rhythms, rock, jazz, and mesmerizing soundscapes.
 

The melodic music Namgar creates was passed down to Lhasaranova from her grandparents and father, who sang to her as a child. The inventive arrangements are new, but the stories told in the songs are as old as the indigenous Buryats themselves, with tales and myths of ancient Mongol fighters, champions, horses and famous battles. The lyrics are based on traditional Buryat and Mongolian songs, reflecting Buryat nomadic culture. Topics include hunter, wedding, family, and yokhor round dance songs, as well as songs about horses, ancestors and shamanic rituals.
 

The group uses various traditional instruments from Buryatia and nearby regions such as the yataga (a 13-stringed zither), the chanza (a three-stringed lute), the khomus (jaw harp) and the morin khuur (a two-stringed bowed instrument), along with modern instruments like electric bass and drums to craft its unique sound. Lhasaranova has a beautiful, impressive voice. Her power, energy and amazing vocal range go beyond words and language, taking her listener on a journey to Siberia and the world of the Buryats, people whose roots reach back to Ghengis Khan and the Mongolian Empire.

Jim Pepper's Classic Peyote Song "Witchi Tai To"

Jim Pepper (1941-1992) was a jazz saxophonist, composer, and singer of Native American descent. Born in Salem, Oregon, Pepper grew up in Portland. He moved to New York City in 1964, where he came to prominence in the late 1960s as a member of The Free Spirits, an early jazz-rock fusion group that also featured Larry Coryell and Bob Moses. His primary instrument was the tenor saxophone (he also played flute and soprano saxophone), and his characteristic incisive, penetrating tone and soulful delivery was unique for its time. A similar timbre was taken up by later players such as Jan Garbarek, Michael Brecker, and David Sanborn.

Of Kaw and Muscogee Creek heritage, Pepper also achieved notoriety for his compositions combining elements of jazz and Native American music. Jazz trumpeter Don Cherry and saxophonist Ornette Coleman encouraged Pepper to reflect his roots and heritage and incorporate it into his jazz playing and composition. His "Witchi Tai To" (derived from a peyote healing chant of the Native American Church which he had learned from his grandfather) is the most famous example of this hybrid style. The song first turned up in 1969 on an album by the band he was playing with at the time, Everything Is Everything. But it's the 1971 version from his own solo album Pepper's Pow Wow that's the definitive version. The song has gone on to be covered by numerous artists including Harper's Bizarre, Ralph Towner, Jan Garbarek, and Brewer & Shipley.

 
Over seven minutes in length, "Witchi Tai To" is beautiful, powerful, and very moving. Assisting Pepper in the recording studio were guitarist Larry Coryell, bassist Chuck Rainey, pianist Tom Grant, drummers Spider Rice and Billy Cobham, and then wife Ravie Pepper on flute, shakers, and vocals. The song begins with the peyote chant plain and unadorned, and slowly segues into Pepper's beautiful, flowing sax line that sets the tone for the rest of the tune. When Pepper begins to blow his sax, there is so much raw emotion and power packed into his delivery it can still bring chills decades later. Pepper died on February 10, 1992 of lymphoma. Listen to Jim Pepper's "Witchi Tai To".

"Witchi Tai To" Lyrics:

Witchi-tie-to, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Witchi-tie-to, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Water spirit feelin'
Springin' round my head
Makes me feel glad
That I'm not dead

Witchi-tie-tie, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Witchi-tie-tie, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

"Rhythms Within A Turquoise Dream"

"Rhythms Within A Turquoise Dream" is the latest music release from Native American artist Louie Gonnie. Gonnie is Dine from the Navajo Nation in New Mexico. Gonnie admired his father and uncles and wanted to be like them so he began to sing in the Native American Church. He is also a well rounded artist, expressing himself in music, art and writing.

Gonnie started singing for family and friends. Eventually, people were recording his music and he realized that he could have a career as a recording artist. His albums started out as Peyote songs of the Native American Church. Since then he has created a more contemporary style.

Gonnie is the exemplar of a creative artist. While very much a part of Dine traditions and very much living its values, Gonnie has an artist's desire to find personal expression within the world of his community. His first two recordings -- Sacred Mountains and Elements (my personal favorite) -- were explorations of the music of the Navajo people in which traditional experience was the foundation for this artist's unique music.

Gonnie's latest album, "Rhythms Within A Turquoise Dream," is a direct return to his roots in the Native American Church. The recording of peyote songs is always a controversial issue within the Native American Church. Some practitioners feel that the songs, as they are intrinsic to a sacred ritual, should never be recorded, while many others feel that recordings are important for disseminating their songs throughout the community.

Even as he lives in respect for NAC values, Gonnie takes the songs for the peyote ritual to a new place. While his song forms are very traditional, the means of producing those songs (extensive studio multi-tracking) is not. Nonetheless Gonnie's compositions and layered harmonies are reverent, spiritual, and achieve transcendence. Anchored by a water drum and sustained by waves of his flowing vocals, Gonnie leads an inner voyage from dreams to actuality, from earth to sky and from the past to eternity.

The Dalai Lama's First Musical Album

"Inner World," the Dalai Lama's first musical album, is a sacred offering of mantras and teachings set to music. In "Inner World," Tibet's leader, Tenzin Gyatso, the 14th Dalai Lama, chants key Buddhist mantras and delivers his insights that trace much of the world's pressing concerns to the spiritual malaise characterizing life in the new century. In short, much of the world's problems owe much to its neglect of the soul: the "Inner World."

Released July 6 when the Dalai Lama celebrated his 85th birthday, "Inner World" consists of 11 tracks along the New World music genre written mainly by New Zealand composer Abraham Kunin, a follower of the Tibetan leader. Kunin's compositions are similar to Tibetan religious music; the main instruments seem to be the bamboo flute, biwan fiddle, Zhannian zither and dungchen or Tibetan long horn. Since this is Tibetan music, it is also Shamanic or meditative music with its use of continuous sounds, some of them natural, such as running water or fountain.

One of my favorite tracks is "Compassion," in which the Dalai Lama intones the famous "Om mani padme hum," the six-syllable mantra associated with the bodhisattva of compassion. In his best-selling books, the Dalai Lama refers to the mantra as a purification on the path to enlightenment -- to "transform your impure body, speech and mind into the pure exalted body, speech and mind of a Buddha."

In "Humanity," we hear the Dalai Lama blaming violence and injustice to "a lack of human compassion . . . a lack of oneness as brothers and sisters." He explains that a "self-centered attitude" puts "too much emphasis on we and them, (which is the) basis of killing, bullying and exploitation." "All injustice is based on too much concept of we and they," the Dalai Lama declares.

Toward the end of the record, he says that whether believer or nonbeliever, "we are the same human beings (who want) a happy life, a peaceful life." This could be attained only by inner conversion. "We have to make every effort to promote through education about inner values," he concludes.

The Dalai Lama's renewed calls for "inner values" and "compassion" are peaceful and nonviolent exhortations that are addressed as much to modern mankind as to Communist China, which has been enslaving Tibet for nearly 70 years now.

Samadhi: Free Meditation Music Download

The Barcelona-based magazine La Senda del Corazón (The Path of the Heart) interviewed me in September 2019. You can read the entire interview by clicking here. They asked me to contribute one of my songs to Samadhi,  a meditation music compilation they are releasing for charity that features eleven artists from around the world. In Hindu yoga, Samadhi is a state of intense concentration attained by the practice of Dharana (focused attention) and Dhyana (effortless meditation) when the True Essential Nature is known without the distortion of the mind. It is considered to be the culmination of the meditation process. Please listen to the album on Bandcamp Radio and consider donating to some of the following charities:

The Koala Hospital
Animal Welfare Institute
Native American Rights Fund
The Nature Conservancy
Action Against Hunger-USA
Animal Nepal

New Shamanic Album "Mudang Rock"

Mudang Rock, the revelatory new album from Grammy-winning guitarist Henry Kaiser, uses the rhythms and spirit of Korean Shamanism as the vehicle for an extraordinary voyage into improvisation and collaboration that reaches far beyond boundaries of genre. In Korean spiritual lore, a mudang is a type of shaman who has become possessed by a god, called a momju. Mudang perform fortune telling using their spiritual powers derived from their possession. They preside over a kut (rite) involving song and dance. The highly electric music on this album is a collaboration of four musical luminaries of jazz and experimentalism: Henry Kaiser, Simon Barker, Bill Laswell, and Rudresh Mahanthappa. Kaiser, Barker, and Laswell each have spent more than one-half of their musical lifetimes collaborating with Korean traditional musicians. They invited saxophonist Rudresh Mahanthappa to join them for this newly energized exploration of the musical unknown. The result is compelling, ecstatic, and very shamanic. Available on Amazon and iTunes.

Trevor Hall - The Fruitful Darkness

Joan Halifax's 2004 book The Fruitful Darkness is a great inspiration behind singer-songwriter Trevor Hall's latest album of its namesake, which is currently in the midst of a four-part release. Hall was in the middle of recording the album when he discovered Halifax's insightful book. Her deep study of shamanism, Buddhism, tribal wisdom, and their interconnections resonated with Hall on many levels. "The book really helped me finish the album," Hall said in an interview.

In her book, Halifax delves into the fruitful darkness -- the shadow side of being, found in the root truths of shamanic traditions and the stillness of meditation. In The Fruitful Darkness, Halifax writes: "Both Buddhism and shamanism are based in the psychological grammar that says we cannot eliminate the so-called negative forces of afflictive emotions. The only way to work with them is to encounter them directly, enter their world, and transform them. They then become manifestations of wisdom. Our weaknesses become our strengths, the source of our compassion for others and the basis of our awakened nature."

Shamans, Halifax notes, develop mystical abilities by surrendering to darkness and that which attacks them. Her reflections on the Buddhist path and the shamanic journey -- a spiritual journey of learning to befriend darkness -- spoke to Hall's own difficult walk through darkness. Hall's latest album tells the story of his own journey through darkness in song. Nearly three years ago, his health deteriorated as the result of a staph infection, leading to his hospitalization and many canceled tour dates.

Hall says he became completely disconnected from the beliefs and inspirations he had previously based his life on. As his idea of himself disintegrated, he found himself feeling alone in the dark, filled with doubt, asking "Who am I? What do I believe?" It was a feeling he couldn't shake.

Halifax's reflections on the Buddhist path and the shamanic journey immediately spoke to Hall's own difficult walk through darkness -- his own shamanic initiation. Initiation is the death, dismembering, and dissolving of old forms/structures/ways of life. Shamanic initiation serves as a transformer -- it causes a radical change in the initiate forever. An initiation marks a transition into a new way of being in the world. It tells us something about the mystery of life and death.

Completing this restorative rite is precisely the task of the shaman. As Joan Halifax explains in her book Shamanic Voices, "The shaman is a healed healer who has retrieved the broken pieces of his or her body and psyche and, through a personal rite of transformation, has integrated many planes of life experience: the body and the spirit, the ordinary and non-ordinary, the individual and the community, nature and supernature, the mythic and the historical, the past, the present and the future."

While writing an album reflecting on the wisdom he'd gained navigating a period of hardship, Halifax's message was the very guidance Hall needed. When it came time to title his record, Hall knew he wanted the album to share the same name as Halifax's book. He wrote to Halifax, who serves as the Abbot of Upaya Zen Center, requesting her permission to title his project The Fruitful Darkness. She gave him permission to use the title for his album, which echoes many of the book's themes in its lyrics. On the title track of the album, Hall sings:

The dark within my dark
Is where I found my light
The fruit became the doorway
And now it's open wide
The fruitful darkness
Is all around us

On "Arrows," the eighth track that Hall has released from The Fruitful Darkness, he sings:

The dark is all around me
But I'm so glad it found me

Hall has come to know the fruits of darkness well. In a recent interview Hall said, "It's been a journey to get to this point. The spiritual path is like a razor's edge. Every tradition says that -- Buddhist, Hindu, Christian, Jewish. It's not a walk in the park."

They Were Here: An Epic Shamanic Album

New Music from the two Shamanic Practitioners Debuts High on Radio Charts, is called "Phenomenal, Primal" in early reviews, and slated for soundtrack placement.

"They Were Here," by shamanic practitioners Byron Metcalf and Jennifer Grais, is an epic full length shamanic album, invoking the untamed power of America's wild horses. Driven by a deep sense of respect for 'Horse' as healer and spirit guide, tempered by sociological and political concerns about the ongoing extinction of mustangs from the American West, the seven-track, hour-long recording evokes the magic and majesty of our wild horses. "Run," the transcendent 14-minute journey at the heart of the album, begins with the real-life sounds of galloping horses that Byron ultimately fuses with his explosive drumming and Jennifer's joyful, heart-rending vocalizations.

Horse as 'Spirit Animal' represents and mirrors the innate life-force, personal power, wildness, and the instinctual impulse for freedom within all of us. Jennifer's invocation-like vocals, combined with Byron's deeply meditative drumming, take the listener on a unique shamanic adventure -- a freedom ride of soaring potential and along the way they are held gently and safely in the arms of Mother Earth. "They Were Here" weaves a deeply-grounded yet blissfully ethereal world infused with beautiful and haunting vocals, polyrhythmic drumming, droning didgeridoo, orchestral soundscapes, and field recordings of galloping horses. This evocative shamanic performance is an astounding listening experience of spiritual depth and sonic ecstasy. It debuted this week at #10 on the NACC Radio Charts and is available on Amazon and iTunes. Listen to the entire album on Bandcamp.

Wild Sanctuary

Bernie Krause is an American musician, soundscape recorder and bio-acoustician, who coined the term biophony, which refers to the collective sound vocal non-human animals create in each given environment. Long devoted to sound and music, he has led an amazing life of exploration and innovation. From a classical musical background, to pioneering the use of the synthesizer in pop music and film, to his current explorations into the world of natural soundscapes, Krause continues to innovate new ways of perceiving and valuing the aural world. His company, Wild Sanctuary has produced over 50 environmental record albums and created environmental sound sculptures for museums and other public spaces. Google Earth uses Krause's sound layering technology to allow people to hear soundscapes from all over the world.

Krause's mission is to help connect people to the wild by presenting, preserving, and protecting the voice of the natural world, which is being lost due to increasing habitat degradation and human noise. Krause explains, "Natural orchestrations, the sounds of our unaltered temperate, tropical, arctic, desert and marine habitats, are becoming exceedingly rare and difficult to find. The keys to our musical past and the origins of complex intra-species connection may be learned from the acoustic output of these wonderful places. We are beginning to learn that the isolated voice of a song bird cannot give us very much useful information. It is the acoustical fabric into which that song is woven that offers up an elixir of formidable intelligence that enlightens us about ourselves, our past, and the very creatures we have longed to know so well."