Light Workers is another track in the Avant Garde series, a series designed to become more playful with sounds, whilst still offering our sound therapy backdrop.
The background sounds were taken from a rain forest in Cuba and then worked into a soup, that can only be described as emanating from the charred remains of a long-forgotten past. That past being the mystical centre of a style called Trip Hop and the city of Bristol.
Mixed in with the intimate jungle sounds is a flute, played by Gary Plumley (Terry Callier’s right hand man and woodwind musician extraordinaire).
The drums and other experimentations have been created by T-Minus. The tracks were performed live in the studio, whilst using the naturally found sounds as the inspiration for this sonic sound canvas.
Morricone’esque in it’s flavour with an added touch of deep Caribbean spice.
Abizia started life as a picture that I painted in my mind of a black, majesctic 1930’s steam train. The cabin tarnished with the sweat of the train driver, caused by the blistering heat constantly being emitted from the huge coal fire, that powers this huge projectile. In my imagination, the track runs along the edge of the Brazilian Rainforest and straight on down to the coast.
The instruments featured in this tinnitus therapeutic track are a Bansuri (Indian Flute), electric bass guitar, and drums and percussion. This track contains one of my favourite styles of music and is by all intents and purposes the title track from this series. It’s origins are steeped in the Avant Garde experimental jazz movement from Europe in the 1970’s. Inspired by the great Norwegian record label ECM.
The sounds of the rainforest were crafted from the field recordings that I made on the Isle of Wight. I set myself the challenge of sourcing all of my sounds locally for this track.
Electric bass guitar player Mark Smith solos through this piece and is juxtaposed by Gary Plumley’s virtuosic Indian Flute and yours truly on the ‘mystical tubs’! ‘Abizia’ was named by Mark and is an abbreviation of his daughter’s names (Isabel and Abigail).
I was drawn towards this full moon last year (May 18th 2019). As I was born in November, the energy from it’s appearance was significant enough to create this music and honour it’s presence.
Scorpio Moon is a good daytime mood tune, but I think I can also act as a bridge for the pre-bedtime routine.
The tune is lead by Gary Plumley on tenor saxophone, along with Séverine Mouletin (choir) and Mark Smith (bass guitar) sharing the spoils.
I wanted to create a piece of music that had the beautifully combined, mellifluous saxophone style of Ben Webster of Lester Young. This was augmented by a chromatic harp and a cool Latin-American inspired rhythm section.
Lastly I wanted to frame this track in the genre of a late 1960’s French crime film that might have starred Alain Delon.
I would like to think that overall, the music has a strong European sound that dips it’s foot into the melancholy and manages to pay respect to the great sound track writers of the last century.
It was important for me to use the power from this particular moon event and to work with it to create a positive reaction. Full moons are energetic and as a result, the effects can be overwhelming and overstimulating.
This is why it’s important to remind ourselves that a good healthy sleep cycle is fundamentally important when beginning the process of tackling tinnitus. As such I have added a few sleep tips below to support this:
The challenge here was to capture the sound of an old grandfather clock and the monotonous tick, ticking sounds that I would normally find challenging to my senses, and turn it into a relaxing soundscape for tinnitus sound therapy.
Being a drummer means that having ticking clocks in a room would drive me to distraction. It’s my kryptonite! I find it incredibly difficult to not want to think of rhythms and subdivisions that would work with it’s groove. This has a stimulating effect on me and is certainly not helpful when establishing a sound source that embodies the feeling of calm and serenity.
All of that said, I really like the sound of an old grandfather clock and the impressive feats of ingenuity and mechanical prowess are not lost on me. So, I decided to record these great timekeepers, take the recorded information back to my studio and put them back into my tape machine at different time intervals. This meant that the constant, repetitive rhythm changed from being monotonous to gloriously unpredictable. The nature of this being that I was now comfortable to enjoy it’s random behaviour. The clock is accompanied by the sound of a voltage controlled 1960’s oscillating synthesiser. The combination of these two sound sources creates a collaboration that is both relaxing and full of abstraction.