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On my fourteenth release, "Organism Made Luminous", I use the same process I have used on past releases, where I play all of the instruments myself and overlay the parts. This album is more synth- and electronics-heavy than my last several albums; while earlier albums certainly used synths and other electronics, the overall impression on "Organism Made Luminous" is that the electronics are more noticeable on more pieces than on my last couple albums.
“Failed Deontological Promise, or The Haphazard Application of the Rule of Law” opens the album with a wide-open section tentatively colored in by numerous synths and horns. The piece ramps up in intensity as the first section ends and, rather than a written melody, the horns come in together with forceful, cacophonous trills before beginning the solo sections.
“Across Three Fields” features a jagged melody voiced by the alto sax, with soprano sax and bass clarinet harmonies, over a simple three-chord progression outlined by a repetitive vibraphone vamp.
“Hegemonic Virtues” is a lively, busy workout for the soprano sax and Moog synthesizer.
“Dialectic Rejected” is a slower, moodier piece featuring a twangy guitar melody vaguely reminiscent of surf rock, only slower.
“Says Flowers” closes the first half of the album with a duet for alto sax and bowed Fender Telecaster.
“Late Edition” features alto sax and numerous synths. It’s notable that all the percussion sounds on this piece were created by a typewriter and loaded into electronic drum software to create the desired rhythms.
“Glassine and Glycerin” is another synth-heavy piece, with dense layers of sound broken apart with grain effects filters. This harkens back to my early ambient electronic albums a bit. Here, there is an alto sax soloing through the layered sound field, but the sax is recorded through the filter and envelope of an analog synthesizer, with the gate being triggered semi-randomly through an external control voltage signal. The sax voice is thus chopped up and mangled, which creates a fitting organic contrast to the dense electronic background.
“Space Mission of the Immortals” has this title because I think the melody, blasted out in unison by horns and synths simultaneously, has a sort of soaring, epic quality similar to sci-fi space operas of yesteryear.
The album closes with “Signal Isolation”, another sparse piece similar to “Says Flowers”, but this time featuring soprano sax, bowed electric box guitar with three cello strings, and some high-tone chirps from a modular synth.
I hope you enjoy this music, and thank you for listening.
supported by 5 fans who also own “Organism Made Luminous”
After a precision liftoff in Tabasco and setting a course to travel the space ways from planet to planet, the album peels away through a wormhole just past Saturn in the eponymous track Mayan Space Station to journey through time and space in Canyons of Light. eric F
supported by 4 fans who also own “Organism Made Luminous”
This record has such a magical flow to it, it seems to capture so directly the ups and downs of life, the joy of music and dance, and it's just so damn catchy and fun to listen to as well. Giles
supported by 4 fans who also own “Organism Made Luminous”
I was brought here after listening to a live performance of Makaya's on you tube. I instantly loved the song Holy Lands so much that I had to see if the album version was the same rendition as the live one. Then I listened to the whole album! Universal Beings is a just a groove... It's a mix of traditional and something new, very nice. pandr1900