In a previous article I wrote the fundamental definition about MIDI (Musical Instrument Digital Interface) and how trendy musicians can use it of their unbiased productions. The late 60s saw an enormous increase in cross-continental musical interest when The Beatles went on a little bit ashram retreat in India and suddenly gave a green light for the world to include world ethnic music into pop and rock after their self-titled white album hit the market.
Creo que la transmisión que da la musica India y el Flamenco al alma es indepcriptible, es una de esas fusiones que cuando las escuchas te extremece, he visto a José Salinas cantando ese flamenco tan especial, ese quejio, con esa voz tan peculiar, tan honda, contestado por esa voz llena de matices, en definitiva un sueño entre culturas, es algo maravilloso.
If you’re in search of stoned out animistic dances from parallel worlds, look no further than this weird little artifact that not only supplicates the trans-dimensional forces from above and past but creates a stylistic magic like no other.
So, what I encountered then in my analysis right from the start was this mixture of an previous stratum of traditional folksongs, much of which appears to be sung in primarily the same approach as it nonetheless may be sung in India at the moment, as I can confirm now due to my very own fieldwork in India.
Despite the similarities in approach, the music sounds nothing just like the world of Solar Ra and comes off as nothing else i’ve ever experienced. While not as musical as Comus or Spirogyra, this one more than makes up for its lack of compositional complexities with intelligent sprawling drone inspired raga marches.