Espero que nos veamos pronto / Que porque bailo y porque veo el amanecer (diptico)
Spirituality abides in the soul, deeply resting in a secret, secluded place that lies close to the heart. Finding a home inside and outside of the body, our spirituality, or lack of, reveals itself in everything we do. Drone music, it seems, can be a musical conduit for the outpouring of the spirit, flowing through the smooth air in its natural state of being. Drones help to clear the mind and with it the senses that frequently clog. During the rush hour, we can find our thoughts rife with pollution. Like rising steam, the drones help to relieve the pressure on the body, helping you to reconnect with your deeper self – your true self – relaxing the muscles and the mind.
Slowly enveloping your mind, body and spirit, a dense wall of reverb surrounds you. The music ebbs and flows, creating a beautiful and gentle ambient wash. Cétieu is the ambient project of musician Tekla Mrozowicka. The drones are spacious, never at risk of a collision. They enjoy long life, down what is a sedate, spiralling stream.
Deeper drones slide along the wall of ambience, trickling like tears. Shimmering on the surface, lighter, airy drones rise up from the depths; like air bubbles, they carry their own oxygen which is then in turn used to support and stabilize the drone. Unstable frequencies squirm underneath the drone, giving out soft vibrations that are more like tranquil ripples. A jet of air, higher up in the spectrum, glides overhead. Three long form ambient pieces make up Espero que nos veamos pronto, two of which are interspersed by a darker piece that takes the music into an eerie, uncharted experimental expanse. This track, ‘Ojos bien cerrados’, has a faint drone that comes in and out, but it is largely superseded by the abrasive roar of a field recording. Once in a while, you can hear the peaceful spirit of the drone echoing through the thunderous wind, as faintly seen as the Andromeda Galaxy is to the naked eye, but still its presence is felt. The ethereal drone, almost weightless in tone, could have come from another dimension. These dusty drones are dim eyes that loosen and blur, a faint lighthouse for the stars, and perfect for star gazing.
Conjuring up the drones, the music at times resembles the majestic music of Steve Roach, living out in the depths of deepest space. Pillars of autumnal ash and orbs of violet and deep red navigate the black, and nebulae shift slowly on. Ripping against the speakers is the sound of a violent wind. In ambient circles, we are so used to the wind rippling instead of ravaging the recording, and it strains the peaceful state of the spirit and the atmosphere.The throbbing bass lets loose its own sub-rhythm. And the rhythm is there, tentatively creeping its way forward.
Released on the first of January, Que porque bailo y porque veo el amanecer (diptico) concludes the journey. ‘White’ blurs the horizon as circular streaks of light pass slowly over the shifting harmony, with a lovely, deep synth texture riding beside the light. ‘Black’ traverses the spiritual world, going even deeper than its predecessor. Subtle dynamic swells and quieter interludes help to remind the spirit that the music is alive, just as alive as the body, and just as necessary as to its survival.
As you enter the clearing, the troubles drop to the ground, relieved of the pressure in the face of the levitating drone. The drone begins to glow with a faint light, as if it were somewhere far off in the distance.
You may not come back out again.