The opening bars certainly pique one's interest: amid the backdrop of barking dogs, a sound that firmly places us in an everyday setting, we hear the somewhat stark tones of a clarinet. These tones do not readily align with the anticipated new age aesthetics. This suggests that the composition might veer off in an unexpected direction, a notion that lingers momentarily. However, it's not long before the piece firmly establishes its identity within the new age genre, a stylistic destination that becomes increasingly evident.
At this juncture, it would seem appropriate to revisit the initial intrigue, which could have offered a different but equally programmatic experience. Perhaps the clarinet's timbre or the melody's slow, albeit eventually somewhat overwrought, progression lends itself well to this type of introspection, reminiscent of Tony Scott's 'Music for Zen/Yoga Meditation.' Moreover, this work could be seen as fitting seamlessly into the ECM label's catalog from the 1980s, especially if interpreted by Manfred Eicher—a name synonymous with the early days and stylistic underpinnings of new age music. It was only later that a derivative form of new age music emerged, characterized by a certain opulent detachment and a degenerated form, which then took on the mantle of defining the genre.
The sense of loss conveyed earlier can also be seen in the ideological stagnation of the genre—the so-called depersonalization or blending into another metaphysically defined reality—which in musical terms offers a shield from the need for genuine interaction, resolution, or accountability. Of course, there's the classic side of new age aesthetics as well—enchanted fairy tales, mystical crystals, incantations, pyramids, and profaned esoteric symbols, all serving as an aural tapestry in the background. Fortunately, these tropes are absent from this work. Yet, the absence of these does not imply that the publication lacks diversity; rather, it possesses a unified and intriguing quality, with each piece reflecting a consistent pursuit.
In the second composition of the first half, the discerning listener is reminded that opting for the path of least resistance is not always the hallmark of thoughtful creation; an excessive use of reverberation here unintentionally underscores this point.
Nonetheless, the final piece, 'Drops into a Well,' forges a stylistically coherent and enduring entity. The composition, both in its length and the ensemble's size, asserts itself as the centerpiece, setting the tone for the publication's overarching stylistic direction. This piece alone justifies labeling the entire work as eclectic. Without a doubt, this reflects the producer's vision, shaped by the performers' engagement with the material. Interestingly, one could argue that the publication as a whole would have been more impactful had it been rendered entirely in this vein. Within it, I find organ sounds that hark back to 1970s Santana, syncopated rhythms reminiscent of early jazz-rock, timeless fusion elements, and a touch of Eastern mystique. Covering the period from 1988 to 1995, this publication documents a significant era of evolution and change. Why not view it as an eight-year diary, chronicling a quest for serenity amidst times of flux and tension?
ㄥ丨N卂S ᐯㄚㄥ丨卂ㄩㄒ卂S is an editor of 'ㄒ卂NGㄖ' music magazine
