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Dreamtime Return questions
Old 30th August 2016
  #1
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Dreamtime Return questions

Thanks for doing this Q&A and THANK YOU for your music!

1--When Dreamtime Return came out I remember reading an article in some magazine about your trip to Australia. I remember seeing a picture of you in OZ recording something with a portable DAT recorder. I can't remember what since it was 28 years ago. How did you incorporate those recordings into the production of that album? For example Songtribe or Red Twilight With The Old Ones have those great native aboriginal parts to them.

2--I noticed a shift in your music during this project to a more "Earth" or "Primordial" sound. Was the trip to Australia what you consider an epiphany musically or otherwise?

Thanks For Listening,

Jim Rogers





https://abovetheredsprites.bandcamp.com/
Old 1st September 2016
  #2
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Quote:
1--When Dreamtime Return came out I remember reading an article in some magazine about your trip to Australia. I remember seeing a picture of you in OZ recording something with a portable DAT recorder. I can't remember what since it was 28 years ago. How did you incorporate those recordings into the production of that album? For example Songlines or Red Twilight With The Old Ones have those great native aboriginal parts to them.
Thank you for the years of hearing the music…That photo was in Tower Pulse magazine. I was playing a hollowed out sandstone cavity in an aboriginal site were were fiming at.
I used the portable dat to record environment sounds and also some of aboriginal Didgeridoo player David Hudson's playing when first met up in Cairns.
The aboriginal chants were made by Percy Trezise, the explorer and Aboriginal rock art historian who was leading our crew into these sites in Cape York for the documentary.
Many of these sounds were woven in there somewhere. The whispering – talking sounds at the beginning of Looking for Safety were recorded with a headset stereo mic in the observation Needle-Tower in downtown Sydney. I was looking across this vast dense cityscape high above in this tower with the bush in the distance as I was recording the sounds of the people on the observation desk. This conjured a dramatic feeling of time shifting and having this sense that while this modern life was on the surface, the ongoing bigger story of the dreamtime was all around and below the city. I would fly off to the Queensland area and deep into the outback for a few weeks, a few days later.

Quote:
2--I noticed a shift in your music during this project to a more "Earth" or "Primordial" sound. Was the trip to Australia what you consider an epiphany musically or otherwise?
Things started to shift towards more elemental earth inspired sound expressions as I was making regular trips from LA to Joshua Tree monument on a regular basis in the mid 80's. This was around the time I moved to Los Angeles to chase the dream of making electronic music as a way of life.
Western Spaces documented this shift at the earlier stages. As I was connecting deeper into the land itself and realizing how the deserts adventures of my youth had a deep impact in my creative life I could sense something emerging that was moving me away from the Influences of the European electronic sound I was initially so drawn towards. This was about connecting with my own relationship to my immediate environment.

Around this time I was already working on a release titled Dreamtime Return before the chance to go there appeared. I was reading some books on Australia and focusing my thoughts in that direction. Out of the blue comes a call from David Stahl, a filmmaker who heard Structures From Silence on the radio driving across Texas late at night.
He was working on a documentary on the rock art in Australia, adding to it all is one of his reference books was the one I was already reading.
Very quickly plans were made for me to travel to Australia for a several weeks and be a part of this film expedition into the ancient Aboriginal sites. This was the foundation of my Dreamtime Return, the entire experience transcended music, and shifted into a major life changing experience. This placed me into the deep end of connecting to the power of sound as a primal force waiting to be discovered. This would be explored further with a second trip to Australia to create the album Sound Of The Earth, the recordings with Robert Rich, Suspended Memories, Jorge Reyes, And my release Origins and Artifacts among others.

It was time filled with a non stop succession of synchronicity which was infused into the music of Dreamtime and onwards. This is when I realized my life as an artist in sound was not going to be limited to being sealed up in studio all the time, thankfully.
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