#pandit pran nath

[garadinervi]

Pandit Pran Nath, Ragas, (12" vinyl record), feat. La Monte Young, SR 10007, Shandar, 1971 [Fondazione Bonotto, Colceresa (VI). Art: © Marian Zazeela]

Recorded in La Monte Young's studio in New York City

Design [Cover Design], Calligraphy: Marian Zazeela Photography: David Weinrib

[jgthirlwell]

11.09.24 Catherine Christer Hennix (1948-2023) memorial at Performance Space, NYC. For this memorial program, members of Hennix’s ensemble—Ellen Arkbro, Amir ElSaffar, Mattias Hållsten, Marcus Pal and Amedeo Maria Schwaller — presented Kamigaku in her absence, following the sonic ideals and performance practices that she specified - musicians should be allowed unrestricted space and time for them to be able to play (only) when they feel inspired and (only) for as long as they feel inspired.

Catherine Christer Hennix was a Swedish musician, poet, philosopher, mathematician and visual artist. As a musician, she worked with figures such as Pandit Pran Nath, La Monte Young, and Henry Flynt.

[machazer]

Buddha Machine Radio and my holy beautiful state of mind. After longer trip into my darkness ⬛️◼️

[onetwofeb]

Pandit Pran Nath, Terry Riley, Marian Zazeela & La Monte Young - Ragas Of The Night (1977)

[est-ce]

Extraction\ : La grille

　Possible prête attention aux mondes-en-train-de-se-faire souffle le chaud et le froid du nez la peinture est mon instrument 1971 1978 j'ai marché toute la nuit deux oiseaux les partis pandit pran nath une guerre bruno latour 36 textes le monde est un haricot 1968 phénomène ils voient un individu libre ils prennent peur bande=choix jamais racontée aveuglement enseignement cri la grille le plan religieux questions de vie idem grr.

(idem, 2018)

[motschoisis]

From In Between The Notes: A Portrait of Pandit Pran Nath, William Farley, 1986.

(With Pandit Pran Nath, Terry Riley, La Monte Young & Marian Zazeela)

[chaoselph]

Pandit Pran Nath  -  Raga Shudh Sarang

[professeur-stump]

Pandit Pran Nath

1681.  Raga Malkauns, Pandit Pran Nath (Pandit Pran Nath, Raga Malkauns, 1976)

⌘

1682.  Raga Yaman Kalyan, Pandit Pran Nath (Pandit Pran Nath, Ragas) (Shandar, 1971) 1683.  Raga Punjabi Berva, Pandit Pran Nath (Pandit Pran Nath, Ragas) (Shandar, 1971)

⌘  Discogs

[doomandgloomfromthetomb]

Brooklyn Raga Massive - Terry Riley In C

Bandcamp Monday ---------> Massive is right! On this mindsplitting live recording, the Brooklyn Raga Massive collective re-imagines Terry Riley’s epochal “In C” as an Indian-flavored trip, with tablas, sitars, sarod, oud and more blending beautifully into a swirling, whirling whole. It’s a nice full circle feeling -- Riley of course was heavily inspired by Indian classical music, studying and collaborating with Pandit Pran Nath. After you check out the BRM set, I recommend checking out this all-too-brief vid of Pandit Pran Nath, Riley La Monte Young and Marian Zazeela playing together in the mid-70s. 

[onetwofeb]

Pandit Pran Nath - Miyan ki Malhar - Storm Raga

[bluetapes]

BLUE TWENTY-TWO: WILD ANIMA

New, expanded C120 edition Out in February

The original blue twenty-two sold out, so we have not only reissued the release (on beautiful glitter-blue tapes!) but tripled it in length!

blue twenty-two now has three distinct movements - a suite of choral pieces known as Songs from Above; a version of Songs from Above reworked into an extended collaborative piece called Selene; and a set of remixes of the original recordings.

Nearly-not-words. Vocal tones that might be described as 'pure' if they weren't so smudged around the edges with reverb, obfuscating the words. Cadences heavy and almost sore, that angel of a voice struggling to lift.

Alex Alexopolous has previously recorded for Blue Tapes with her delicate, precise Kurosounds project (blue seven). As Wild Anima, Alex works with a select troupe of collaborators, applying her unique sound design skills to a set of minimal vocal studies.

Fans of blue eight (Katie Gately) and blue ten (EyeSea) will find much to love here. But where Katie crafted a kind of vocal-only future-pop - gibbering, amassed, wordlessly beautiful ADHD macro-melodies - Alex pares everything back to a monastic shaft of voice.

It's a voice that - on the first side of the tape, codenamed Songs from Above - appears to be deep in something that some people might call prayer, but is probably a lot more complicated than that.

The second side of the tape is one long piece constructed to evoke a lunar atmosphere: the transcendent Selene.

praise for blue twenty-two:

"Sitting somewhere between the madrigals of 16th century Italian composer Carlo Gesualdo, the decaying tape loops of 20th century minimalist William Basinski, and Enya, the music here is made up almost entirely of distant murky choirs. Side A was recorded on a farm in Devon back in 2013 before the project even had a name, deep under the spell of Tibetan culture and "feelings of compassion". The recording quality is muddy to almost alien degrees, as meditative repetitions of female voices seep into vast caverns of reverb. Keiji Haino’s short lived medieval music project, Nijiumu, springs to mind, if only for the sheer spiritual intensity of that vacant space. Side two’s side-long piece titled ‘Selene’ was recorded later, and integrates barely recognisable strings and echo-laden voices of Inuit shaman amid Alexopoulos’ epic vocals. The floaty amorphous soundscape strangely reminded me of The KLF’s trippy Chill Out - although perhaps swapping out Elvis Presley on a car radio for Pandit Pran Nath in a cave." - The Quietus

"Shamans’ chants weaving together to soundtrack a dream sequence where you can imagine the flashing lights and seemingly endless tunnel of that Willy Wonka psychedelic boat ride scene, only less scary." - Tabs Out

"It’s a meditative, internally explorative work, and the further her voice spreads outward, the deeper Alexopolous seems to journey into herself." - ATTN Magazine

"...this feels like monastic chant in the best way possible. Think The Name of The Rose meets The Wicker Man." - Bandcloud

[nzvzn]

http://eleventwentyrecords.bigcartel.com/products

Terry Riley – Songs For The Ten Voices of The Two Prophets - LP

Terry Riley - Descending Moonshine Dervishes - LP

"Great for meditating to the cosmos" -- Thurston Moore

[ryotarox]

brilliant trees sessions . Berlin . 1983 on Vimeo

出演順:ロニー・ドレイトン、デビッド・シルヴィアン、坂本龍一、ホルガー・シューカイ、ジョン・ハッセル、スティーブ・ナイ。 撮影：Yuka Fujii 『…（DeepL訳）この時点では、リュウイチは英語がとても初歩的だったので（これは今後10年ほどの間に根本的に変わることになる）、できるだけ経済的にコミュニケーションを取らなければならなかった。というか、やりとりの95%は純粋に音楽的なものであった。より詳細な説明が必要な場合は、ユカやピーター・バラカンが介入することになる。 ベルリンでのこのセッションは、後に「Brilliant trees」となるものを作るための最初のステップであり、バンドの構造から離れる最初のステップでもあったのです。メジャーレーベルと契約していた頃のレコーディングの中で、最も幸せな経験のひとつでした。ベルリンという誰も知らない土地にみんなが集まったことが功を奏し、まるで冒険のような気分でした。みんな、オープンな気持ちで来てくれたんです。その後、「Secrets of the Beehive」、「Rain Tree Crow」、「The First Day」などのアルバムでこのプロセスを繰り返しました。 ジョン（・ハッセル）との会話は興味深かったので、たくさん残してあります。ある部分では、ラーガというものの性質や、インドの有名な歌手であり指導者でもあるPandit Pran Nathと一緒に仕事をして、どのようにラーガに行き着いたかを説明している。また、「Brilliant Trees」は西洋の伝統、彼の言うところの「ステップ」で演奏するよう求めているので、彼の演奏がタイトル曲に取り入れられるとは思えないとほのめかしていました。私は我慢した。その夜、彼はホテルの部屋に戻って作業をし、一晩で、ラーガから離れた（コーダ以外の）���とても美しく、曲を引き立てるものを考え出し、ジョンが西洋の伝統で演奏した、ユニークとは言えないまでも、珍しい録音の一つを私たちに与えてくれました。 私はベルリンから不完全なアルバムを持って帰り、私が持っているものの中で最高のものを補うために、残りのいくつかの曲を書くことに先立ちました。「The Ink in the Well」、「Nostalgia」、「Backwaters」が加えられ、「Blue of Noon」、「Forbidden Colours」の別バージョン、リュウイチと作曲した新曲は、後者を除いて別の場所で家を見つけることになったのである。「Blue of Noon」はもともとボーカル曲だったが、このバージョンはまとまりがなく、いずれにせよアルバムの文脈から外れているように感じた。ヴァージンはこの曲のラフミックスをシングルのB面としてリリースした…』

[dustedmagazine]

Listed: Aarktica

Jon DeRosa has made a lot of music under a lot of names (and with a lot of people), but his drone/ambient project Aarktica is one of his most prolific and long-lasting outlets. Beginning with 2000’s No Solace in Sleep, Aarktica has long been a reliable name for those interested in the more otherworldly and transporting side of the guitar. But while DeRosa has kept busy, this year’s Mareaciónmarks the first time in almost a decade that there’s been a fully-fledged Aarktica LP. Dusted’s Ian Mathers describes it as “conjuring up a range of atmospheres and emotions from a relatively small sonic palette”; to go along with the album, DeRosa has provided us with a list of inspirations old and new.

I began working on the new Aarktica album Mareación over two years ago. Over the course of that time there were many influences, some musical and some personal, that affected my life and perspective, and really my entire human experience, which in turn inspired me creatively. These influences, combined with a few forever-influences that have been there all the while, are highlighted here. My hope is that it paints a bit of a colorful picture as to who and what was influential in the making of Mareación and to share these artistic inspirations that have been so important in my life with others.

Steve Roach—Structures From Silence

Structures From Silence is what I consider to be the most perfect ambient composition of all time. I have been a fan of Steve Roach since I saw him perform in Chicago when I was 16 years old, but it wasn’t until 15 or so years later that I’d rediscover this early work of his in a completely new context, one of the shamanic / plant medicine world. I recently saw him perform here in Los Angeles and to my delight he opened with this piece. It is a masterpiece that has its own life. It’s a composition that actually breathes.

La Monte Young—The Well-Tuned Piano

I went deaf in my right ear right before I turned 19 years old. Shortly thereafter, I had started volunteering as a monitor for La Monte Young’s “Dreamhouse” sound and light installation Downtown. One night while working there, his assistant (my friend) came up to the third floor and said, “La Monte wants to talk to you.” I walked down to the second floor where he and his wife Marian lived and knocked on the door. I had never really met him before and I’ll never forget that first interaction. La Monte opened the door, sunglasses and bandana on, shirtless, earrings dangling, and said “I heard what happened and...I think we can help. I think we can help you.” I began studying raga with them in an effort to restructure the way I heard and interpreted sound. Aarktica was born in the midst of all of this, and more than that, they may have actually saved my life in the process.

Richard Grossman

My dearest friend and teacher, I’ve had the privilege of working by his side for many years now. In a world where everyone seems to be a shaman, a healer, witch, mystic, etc... Richard is one of the very few authentic healers I’ve met. He’s also a hell of a musician, though he will probably not admit it. And he’s an excellent storyteller, which he probably would actually admit to. Much of Mareaciónwas inspired by our work together.

Mariana Root—“Sāo Árvores”

The first time I ever sat in a plant medicine ceremony in Peru I was fortunate enough that Mariana was there as an assistant. Her presence set a very high musical bar for all ceremonies to follow. Mariana possesses the most beautiful voice in the world, and I have been singing her songs ever since I met her years ago. I haven’t found anyone with both this level of tonal integrity and actual channeled beauty in melody and lyrics.

Pandit Pran Nath—21 VIII 76 NYC Raga Malkauns

I was introduced to the music of Pandit Pran Nath during my studies with La Monte and Marian, as he was their (as well as Terry Riley’s) guru and teacher for many years prior. There is really no other voice so haunting, no other voice that can say so much in just a few notes. I have listened to the same few ragas of his for almost 20 years now and they continue to evolve and change with every listen.

Electric Sound Bath—“Still Water High Seas” video

There is no one doing ambient and modular analog music with such sensitivity and soul as Electric Sound Bath. Their new single “Still Water High Seas” stirs a lot of emotion. And beauty. Ang from ESB took the photos for Mareación and Brian from ESB did all the design work and videos for the album. They are some of the kindest and most talented people I know. Los Angles is a better place with them in it.

Javier Regueiro—Plant Medicine Transmissions podcasts

Javier is another dear friend and teacher from Peru, a brilliant Ayahuasquero and Huachumero who has written some of the best books out there on working with plant medicines. Much of Mareación, especially the more ambient pieces “Her Divine Light” and “Awakening” were composed very shortly after returning from visiting him a few years ago. And “Don Francisco’s Blues” was influenced by a dieta I completed with him and his teacher Don Francisco Montes Shuna at Don Francisco’s land in the jungle Sachamama. I highly recommend his podcast series “Plant Medicine Transmissions” for both the beginner and the experienced plant medicine explorer. He’s eloquent and knowledgeable, and an overall beautiful human being.

Various Artists—I Am the Center: Private Issue New Age Music In America 1950-1990 (Light in the Attic)

This compilation from Light In The Attic is brilliantly curated and has been in my regular rotation since it was released a few years ago. An excellent starting point for exploring the genre...

Luz Maria Ampuero—Ancestral

Ancestral by Luz Maria Ampuero

I have a lot of love for my dear one Luz Maria, one of the more powerful curanderas I have known and worked with. This album of hers from last year (Ancestral) captures the beauty and magic of her voice and her spirit in these channeled songs. The song “Eating Rose Petals” from Mareación was inspired by her.

Kabir (poet)—Two Poems

In one of my favorite poems by Kabir, the 15th century Indian poet and mystic, he says: “Student, tell me, what is God? He is the breath inside the breath.” Nothing has ever made more sense to me. This was the inspiration for the opening track on Mareación.