Iludhra
from
Dzyan is a boundary-stretching, instrumental venture into the
abstract realm of complex harmonization and tonal texturing.
Dzyan explores many unusual sources of tonality outside of the
European frame, such as Indian, Middle-Eastern, African, and
Egyptian, among others. He conducts this tonal exploration with
clean-toned acoustic and electric guitars that are layered to
create richly textured harmonies centered primarily around non-diatonic
harmonies and uncommonly utilized modes. In addition to the
unusual harmonization that is explored, Dzyan also incorporates
some unusual rhythms and meters into the unusual compositions
that conjure images of ancient mysticism, occult, pagan
ceremonies, Eastern spiritualism, and drug-induced, hypnotic,
psychedelic journeys. One of the most striking
aspects of the music on Iludhra
is that Dzyan not only explores outside harmonies, but he does it
with a musical vision that captures a distinctive feeling and
musical vision that gives meaning to the tonality that he has
come to terms with. Though the lack of familiarity of the Western
audience with the unusual tonality that Dzyan deploys will
undoubtedly present an obstacle in their ability to grasp it
fully upon first listening, Dzyan makes great strides in tearing
down the cultural walls that separate Western listeners from the
Eastern harmonization that he builds upon. And though not based
upon any speedy or fusionish advanced guitar technique, the style
of guitar that Dzyan utilizes is intricate and impressive in its
own right because of the difficult tonality that it
articulates. Perhaps it is necessary to
understand the origin of "Dzyan" to grasp the musical
vision of Iludhra. The following is an excerpt from a description
of the origins of "Dzyan" that captures the distinctive
feeling that the album projects: Blavatskys
influence spread beyond the occult world, contributing to the 19th
centurys strange tale and to 20th century
horror. Her views on cyclic evolution through space and time,
expressed in the poetic and evocative Stanzas of Dzyan, bridge
the divide between visionary spirituality and supernatural
storytelling, between magic and fiction. To the author of the
Stanzas of Dzyan, the cycle of the cosmos serves a greater
spiritual purpose even while it ensnares an eternal procession of
fantastic beings in illusion. The seminal horror writer H. P.
Lovecraft contrasted his nihilistic work with Blavatskys
Theosophy, and filled his cosmos instead with vast, uncaring, and
incomprehensible forces. The dynamic between the two writers
demonstrates skepticism and speculation not as conflicts but as
kindred mythological responses to science. Iludha
is an interesting album that should attract the interest of
musicians because of its exploration of non-standard modes,
tonality, and meters. I could see this album easily attracting
examination in an academic environment. But, beyond this academic
value, one of the major accomplishments that Dzyan has achieved
on this album is that he has managed to cross the cultural
boundaries between the foriegn musical concepts that he explores
and the Western listening audience that the music is
presented. ~ Christopher
Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight
Dzyan:
Iludhra
2001, Terakuma Productions,
050199-2
CyberHome: http://www.Dzyan.com
The
Book of Dzyan, Being a Manuscript Curiously Received by Helena
Petrovna Blavatsky with Diverse & Rare Texts of Related
Interest
Edited and Introduced
by Tim Maroney -
Acoustic &Electric
Guitars, Percussion
Dzyan
1) Indigo Flame
2) Serpent's Mount
3) Larthegia
4) Amon Re
5) Brothers Keep
Time
6) Naga Raga
7) Iludhra
8) Korsan
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