| | Tribal Trance Didgin' In The Dirt CD Tribal Trance Discography of CDs
The name of this trio of musicians tells it all-- DIDGIN' IN THE DIRT is entrancing in every way. The repetitive rhythms of the hand drums and the drone of the ancient aboriginal wind instrument, the didgeridoo, characterize nearly all nine pieces. Evoking the mood and sounds of aboriginal music from Australia, these musicians bring to life the mystique of tribal music and the silent spirit of the land itself.
Percussively similar to Hindustani Qawwal music, this music essentially seeks the same union with the Creator and the unseen world. However, use of soprano saxophone and keyboards, while sparing, takes this music outside the pale of strict or authentic tribal music. Nonetheless, DIDGIN' IN THE DIRT provides a soundscape that invigorates the soul and encourages a kind of rigorous introspection, its meditative power lying in the general aura that seems to surround these compositions. DIDGIN' IN THE DIRT quiets mental chatter and instead pulls the listener in the direction of the visceral and the primal. Highlights include the opening track, "River," and "Afternoon Storm."
Recorded at AH Studios, Old, Australia in January 1996.
Tribal Trance: Rodger (vocals, drums); Nelson (flute, saxophone); Matt (didgeridoo); Penny, Andrew (keyboards).
Didgin' In The Dirt Music Tribal Trance Didgin' In The Dirt Songs | 1. | River |
| 2. | Sunrise |
| 3. | Breath |
| 4. | Earth Song |
| 5. | Kadiechi Dreaming |
| 6. | Didgin' in the Dirt |
| 7. | Afternoon Storm |
| 8. | Sunset |
| 9. | Ceremony |
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Didgin' In The Dirt Review
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Purchase Didgin' In The Dirt CD To buy, Click on price to add to cart | Enya Watermark CD (1988)
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One of Enya's most popular releases, WATERMARK is an enchantingly dreamy album, featuring washes of keyboards and ethereal vocals. On the title track, the gentle piano melody mimics the sound of falling water, and Enya's multi-tracked voice cascades over the music like a calm wind on a rainy night.
The most memorable composition on this 1988 record is the hit "Orinoco Flow (Sail Away)." Marked by its keyboard-generated staccato strings and infectious vocal hook, this piece is probably the singer's ...
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RUBYCON is an undisputed classic in the vast Tangerine Dream canon, referenced by many of the new electronica generation. But at the time of its creation, Edgar Froese, Chris Franke, and Peter Baumann were themselves young men experimenting with technology.
RUBYCON is split into two sections, both of which offer the band's trademark mix of ululating sequencers, ghostly synthetic twilight, and mysterious electronic effects. Part One begins with intergalactic whispers, before coalescing into one of the Dream's most uniquely designed rhythm patterns. Part Two moves the sequencers' BPMs up a notch, matching them with whistling electronics and howling, ...
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| | Enya Amarantine CD (2005)
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After a five-year silence in the wake of her phenomenally successful release A DAY WITHOUT RAIN, Enya reemerged in 2005 with AMARANTINE. The singer knows better than to mess with a good thing, and all of the hallmarks of her sound are here: the evocative Celtic overtones, the symphonic arrangements and lush soundscapes, and the singer's pure, haunting vocals. Additionally, Enya's long-time creative sidekicks--producer arranger Nicky Ryan and lyricist ...
| | Robert Gass From The Goddess/O Great Spirit CD (1993)
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In 1993, Spring Hill released From the Goddess/O Great Spirit on one compact disc, which contained two complete albums by Robert Gass : From the Goddess (1989) and O Great Spirit. ~ Tim Sendra
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2 LPs on 1 CD: FROM THE GODDESS/O GREAT SPIRIT.
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| | Les Negresses Vertes 10 Remixes CD (1994) France
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Les Negresses Vertes are a big wild colorful and multi-ethnic street band from Paris. This album contains remixes of their boisterous and joyful sound.
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| | Nicholas Gunn Through The Great Smoky Mountains: A Musical Journey CD (2002)
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The third installment of Nicholas Gunn's National Park-themed albums guides us through the beauty of Southern Appalachia. Gunn writes dramatically structured instrumentals for keyboards and flute, conjuring summits and valleys in bold strokes rather than wispy pastels. He alters the mood of each song with judicious use of percussion, and allows little room for the repetition or monotony that can infect an album of pop instrumentals.
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Winds bring an equivalent mix of classical strings and metallic brawn to this album, although they fortunately don't fall into a time-honored rut of over-the-top guitars and solo virtuosos. This is true on the melodic "What Is Beauty?," which mixes a bit of Queensr˙che, System of a Down, and Anathema throughout. A Roger Waters-circa The Wall delivery moves the song further toward a metal slant. Carl August Tidemann has a nice solo here without the classical guitar tone. "Sounds Like Desolation" opens with a disjointed piano solo before the brief instrumental morphs into the guitar-heavy "Theory of Relativity." The softer David Gilmour-like solo is another great asset before they up the sonic ante. What works for Winds is the band's ability to toe the line between strong arrangements that maintain a healthy amount of credibility and originality. Perhaps they venture down the same path one too many times, however, especially on the somber but orchestral "Visions of Perfection," bringing to mind Metallica's "Nothing Else Matters" to a certain extent. The delayed harmonies on the song also give it a Queen-ish flavor. This is also heard in Tidemann's solos on the effort, recalling an early Brian May. "The Fireworks of Genesis" has an edgier style going for it, with the rhythm section building on each verse. The strings are unfortunately a bit of overkill on this studio-perfected song. One also expects them to break through with a hard, darker, and more punishing sound, but they rarely do. The concept of time is the biggest lyrical component to the record, but musically Winds go for the anthemic and grandiose arrangement time after time. As a result, the middle ...
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