Instead of singing the blues, Gordon Rhyne chooses to sing the HU... by way of mantric overtone chanting, he takes reverential, innerstellar (gotta love that title!) journeys on extended multi-toned vocal strands which seem to ebb and flow endlessly.
Travel across trance-inducing sonic horizons in search of God, of serenity or of some simple-yet-complex lung-powered sounds.
Adjectives like "cavernous" and "chasmic" leap to mind when the multi-toned groans of Tula begin to pour forth in amazingly continual streams. The wind sounds and high frequencies which spiral around the vocalizations of Vistas certainly seem to be either sampled or synthesized; the overall impression is one of crossing a vast, arid plain. Gordon admits to a bit of pitch-shifting in Gliding, a seemingly endless current of otherwise unadorned oscillations.
Deep (almost didgeridoo-like) throatiness sends grumbling rays Earthbound; a self-chorus of lighter layers emerges to brighten the proceedings. One actually hears the pause-to-breathe between the intertwining (and seemingly inverted) segments of Quantic Discernment as layers of almost-subterranean depth stop and go, into the nearly-identical (though "looser" and more layered) Perception, where more of the harmonic overtones are heard.
More of the same when the deeep strands of Falling Up (4:12) do their falling up thing, which sounds rather alot like the previous pieces actually. Even though the long-running Fractal Dreamscape (15:46) includes the addition of some light keyboard drone and cicada buzz, the been-there/heard-that effect has really begun to seep in, leaving me nearly desensitized to the sparkling harmonic auroras. The various tonal levels of slowly wavering Sonoluminescence give it a swarm-like resonance.
