Yellow Chandelier opens with a sizzling Indonesian cymbal setting the scene in the manner of a ecstatic swaramandala. It is precisely the commonality of that identity which attracts me to the more esoteric designation from India, affording a fresh perspective. Outside of India, Dhirasankarabharnam Mela is known as the Ionian Mode, or even more basic, the major scale. Our thirst for expression using its pristine tones is inexhaustible, and I turned to them for both Morning-Star and Yellow Chandelier. Or from ancient China, Li Shang-Yin: “I have studied magic, can halt the retreat of day: I have fetched phoenix papers and written down my love.” Lilac Dawn ends with the same rhythmic figures as the opening, this time intoned by a Chinese gong tailed by a single female voice.ĭhirasankarabharanam Mela's source material is ubiquitous throughout myriad musical cultures, tied into our collective body chemistry. “Sea-winds blown from the east and west” is an image from the poetry of Walt Whitman that comes to mind. One delight coming from making music with the Meruvina is the possibility of venturing into terrains unvisited before, here unleashing a profusion of concentrated extremes. Simultaneously central on my mind is allowing everything to breathe using space and silence and lyrical simplicity mixed into labyrinthine currents.įollowing an opening of kaleidoscopic female voices deployed in rhythmic fashion, Lilac Dawn coalesces lightning piano flashes with an equally mercurial tabla-dholak-dhol percussion construction manifesting over dance music patterns both earthy and abstracted. Interweaving lilas of melodic and rhythmic intricacy and complexity is a favorite pursuit of mine, bracing those investigations and expressions with drones and ostinati. First off is the title piece, Lilac Dawn, which launches into rapid flights of melodic and rhythmic design woven from potent Asavari Thaat. There's good reason to do so now with melodic content for two of the compositions here comprised from such, also known as Bilawal Thaat.
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