What matters right now is the music on Pastoral Dream I. What is the narrative behind it? What is there musically and how do I see it? And why would you find it something you might consider as an addition to your music piles and your listening life?
Like Piaget's idea of the perception of infants, that an object is only thought present when physically in front of him or her, the ballerina is here-gone in the dream, but the dreamer gradually believes she exists still, and searches for her continually over various pastoral landscapes.
The music is all virtual multiple me's occupying many tracks, instruments and subjected to studio enchantments to make of it an orchestral whole. Volume Two will continue the journey and cover new ground.
The last three numbers form the core of Volume One. As previously the Psyche Mobius Machina Garage Orchestra is an orchestra-sized collective gathering of an electric guitar section, a synth strings section, multiple keyboards appearing as themselves, bass guitars, a percussion section of drum set and other percussion, and a small "choir" at times, all put together layer-by-layer in my studio as I played all the instruments and sang the parts one-by-one.
"Holiday Flubber" begins the sequence with a somewhat mysterious orchestral new music improv. The entire unfolding is based on a first-take, thematically diverse keyboard improvisation, which then becomes the multi-dimensional root to the many part construction that makes up the whole that we hear. The acute absence of the ballerina is felt especially around the holidays and the by-product flubber that holiday celebrating makes present is a poor substitute indeed.
From there the central theme of "Pretty Ballerina" comes to the forefront in a slow and sultry orchestral blanket that has a rather orgasmic core. It is in the very expressive lyrical cosmic zone that seemed just right for the transformation made possible by the Garage Orchestra.
From there the definitive mix of "Paiute Gathering Pinenuts" gives a final climactic send-off for Volume One. Paiute Indian women gather pinenuts in the woodlands while the menfolk are off hunting game. Why are we here? They sing of that wonder as the ballerina is off someplace unseen. It is a sort of prog-minimalist psychedelic paean to life in nature, to a pastoral dreamtime that has its actual dimensions in a communion with the natural world. A cosmic drone rock anthem builds slowly and in the end the movements of the earth around the sun take over the aural plane of sound with a cosmic spinning of infectious (I hope) intensity. Oh, and so that spinning is the dance of the earth with the cosmos. It is also the spinning ballerina in her timeless dance in the realm of the spheres!