Limited edition 140g vinyl (with download card)in shops 3 October 2016
“An epically great album and my most listened to record over summer 2016” (JD Twitch / Optimo)
“A truly timeless and vast 4th World musical vision for an off-world generation. Masterpiece” (House of Traps / Firecracker Recordings / Sacred Summits)
A veteran drummer, composer and session musician with a career spanning six decades, Jon Keliehor is one of the few musicians who can lay claim to having worked alongside both Jim Morrison AND James Brown in the early years of his multi-faceted career. Originally hailing from Seattle he later lived in London composing and performing music for theatre and dance as well as his own multimedia performances. In the '80s Jon recorded various 'library music' projects, the most notable of which being the much sought after "East Meets West" on Bruton. Jon has been living in Glasgow since the 1990s and has worked in a variety of genres including a long stint with Glasgow gamelan ensemble Naga Mas for whom he composed several pieces.
In one sense the music of The Beginning of Time appears as a real-time soundscape that unfolds within different landscapes of nature. Yet here time and space seem altered, stretched into complexes of sonic layers, sound horizons and ever-widening boundaries. Curled-up and unfolding shapes in this domain suggest symbolic meanings yet language has been surpassed. The music is a reminder of ritual significance, shamanic journey, binding relationships between humans, nature and planet. While the question of Time and its beginning can offer a discussion on the nature of origin, perhaps even on the rise of humanity, words become inadequate. Instead we are directed to look at the magnetism of our own nature, the mythology surrounding Time. When did we actually begin?
During these recordings music has been made directly in response to the sounds of nature. I see these field recordings as elements that are integral to the music itself. Here nature sets the pace. Rhythmic and tonal aspects of rivers, ocean waves and nature-life guide and shape the music elements. Nature’s vitality and motion provide impulses and signals not different from those of human biology, micro-molecular patterns, cells sending messages to other cells. These ambient source recordings have come from widely diverse nature and industrial locations. I have hoped to reconcile the balance and harmony that music has with nature, listening for chance interactions, investigating relationships between primitive and refined attributes in sound, as well as these qualities in instruments themselves. The music instruments used are primarily acoustic
It is a unique challenge to combine live and often primitive instruments such as those heard on these recordings into the mysterious wholeness of music. Yet with all the inconsistencies and imperfections of sound that acoustic instruments have, we find a relief from the perfectly sampled music sounds and repetitive loops in much of today’s music. Now it becomes possible to enter the more fluid world of subtle acoustic tones, to discover the living ambiences and spatial coordinates that exist around sounds, and see the performer's ability to engage in these aspects.
Encounters in Nature: Pacific Ocean, Scottish Rivers, Hoh Rainforest, Venezuelan Rainforest, Auric telemetry fields.
Rainforest Creatures: Frogs, Toads, Peepers, Hieroglyphic and Lyric cicada, and many types of crickets.
Instruments: Burmese, Javanese and Chinese gongs, Wind Gongs, Antique bell sets from Turkey, China, America & India, Rattle bells, African log drums, Frame drums, Darbouka, Roto Toms, Venezuelan bell plates, Balinese Guntang and Suling, Noah Bells, Nepalese Kyezee, Berimbau, Ektara, Bowed cymbals and metals, Tibetan bowl sets, Roulette Wheels, Tension wires, Bumblebee hummers, Miniature Harmonicas, Spring Can, Glass tones, Plastic horns, Animal flutes, Whistles, Acoustic Harp, Marimba, Zithers"