We’ve updated our Terms of Use to reflect our new entity name and address. You can review the changes here.
We’ve updated our Terms of Use. You can review the changes here.

Divining Movements

by United Bible Studies

/
1.
Movement I 23:00
2.
Movement II 23:00
3.
Movement III 23:00
4.
Movement IV 23:00

about

Double CD available at www.pariahchild.co.uk/artefacts/page/18/

Also available in a bundle with West Kennet Ascension & Cave Hill Ascension.

Beneath the earth, beyond the stars, between stations
These are divining movements
Reveal'd in the light of a buried moon
So as to preserve the mystery...

One of Mojo Magazine's Top Ten Underground Releases of 2021.

2021 marks the 20th anniversary of United Bible Studies, the amorphous folk/drone/psych ensemble at the heart of the Irish undergrowth, who have welcomed over 200 contributors from around the world into their creative orbit in that time. With a far-reaching sound palette, and a vast catalogue of live recordings and studio releases on their Bandcamp, the sound of UBS is defined by its sense of experimental collectivism, its affinity with rural landscapes, and its trust in the unifying power of “folk” music, in the broadest, most exploratory, sense of the word. Currently centred on the core group of founder David Colohan, Alison O’Donnell (formerly of Mellow Candle), Dominic Cooper and Matt Leivers – itself, liable to change come the next release – United Bible Studies’ latest offerings are the conclusion to a series launched in 2019 with Cave Hill Ascension. A mixture of “devotional drones and rural kosmische”, Divining Moments is composed of four pieces, exactly 23 minutes in length a piece. Leivers’ saxophone glides gently through the nocturnal fog of organ synths and wordless vocals, like Pharoah Sanders’ astral spirituality encased in dewey moss. An orchestra of keys, accordion, voices and chimes fold around one another throughout this release, like passing clouds merging.

Eoin Murray, The Quietus

An intrinsic sense of freedom present in both their music and group structures sets United Bible Studies apart from others dabbling with avant garde takes on folk. Built around a loose nucleus of David Colohan, Alison O’Donnell, Dom Cooper and Matt Leivers, each of the collective’s works is left to form spontaneously, influenced by a diverse cast of Irish and British collaborators. Within these ensembles, individual contributions and energies become as important as overarching concepts. Despite this continued metamorphosis, the music of UBS always emanates from a place where primal, slightly dangerous forces live. Conjuring improvisations from pastoral forms and earthy drones, their art teeters between fierce exaltations of the flesh and celestial spiritual journeys. West Kennet Ascension lands on the airier side of their oeuvre, brief as a fleeting desire during a busy day. Expanded to a septet with Diana Collier, Sophie Cooper and Graeme Lockett, UBS render “Bless’d Is Albion”, “On Silbury Hill” and “Gather Words For The Fire” into starkly alluring a cappella cuts and plant them where faint birdsong filters through tree branches swaying in the wind – a time and place just out of reach. These songs bookend two sprawling tracks, “Amongst The Illuminations” and “West Kennet Ascension”. Here, drones rise from synthesizers and harmonium, consuming disembodied psalms, thumps and wandering chants into breathless lullabies. When a saxophone’s flutter and a shruti box’s reverberations tear through that fabric, the sensation is hair-raising, like falling through soft earth into a deep sleep.
The core group grow the four parts of Divining Movements from similar roots, before stripping them down. Meditation is the word that first comes to mind, but reducing these pieces to such a functional passive role is almost blasphemous. Instead, the journey through the album’s thundering oscillations and swallowing textures is best enjoyed while being acutely aware of each slow shift and swell, even when time seems to come to a still. Sustained, fuzzy riffs of various origin are the prevailing idiom, but they never rest, as synth rays glisten in the shadows of silence and cymbal hits illuminate the path for rolling saxophone melodies and delicate choirs.

Antonio Poscic, The Wire

United Bible Studies bring us two new releases which follow on from 2019’s ‘Cave Hill Ascension’ to complete the ‘Cave Hill’ trilogy. As might be expected there are themes and moods that weave a thread through all three releases whilst each on their own maintains its singular freestanding character.

‘Divining Movements’ is divided into four movements on a double CD, each movement timed at exactly 23 minutes. For this recording, United Bible Studies are a quartet consisting of Alison O’Donnell, David Colohan and Dominic Cooper with Matt Leivers playing saxophone. Slowly shifting, spacious and elemental waves of sound swell, float and fade away into silence. Richly textured and expressive wordless vocals, brief flurries of saxophone, subtle wisps and shimmers of percussive colour and elegant, occasionally dramatic layered drones create a spiritual, meditative ambience and a lovely indulgent sense of isolation and natural space. Occasional touches of electronic dissonance, synthesized textures and treated vocals are wisely used to embellish and not detract from the immersive and hypnotic ambience. Each of the four movements maintains a core musical ambience and mood but also creates its own personality. Frequent reminders of Popol Vuh, Jon Hassell, Dead Can Dance, monastic chant and the more cathedral-esque and spacious ambiences of John Surman and Jan Garbarek present themselves throughout the four movements in the best possible ways.

The third and final part of the trilogy ‘West Kennet Ascension’ is a cassette release boasting an expanded line up where the aforementioned quartet are joined by Diana Collier, Sophie Cooper and Graeme Lockett. It was recorded in several locations and is a more openly diverse collection alternating quite starkly but nevertheless effectively between short unaccompanied songs sung in a stirring folk club session style and lengthier, more exploratory ambient pieces which hold a connection albeit not always a direct lineage to other music across the trilogy through the use of vocal textures, expressive drones and saxophone. Vocals either singular or choral are the essential core here and are markedly more prominent than the other trilogy recordings creating moods and painting with sounds. On ‘Amongst The Illuminations’ organ drones and desolate drums blend with wordless hymnal vocals to create a ceremonial, sacred kosmische feel. The title track concludes the tape and moves elegantly from beautiful vocal soundscapes through slowly building drones towards climax where waves of voice, organ drone and sax swell grandly before evaporating to nothing. There is a sense that in addition to the expanded septet, different recording locations such as West Kennet Long Barrow and Waylands Smithy played a big part in influencing the mood and sound.

These are two very fine releases with their own personality, quiet power and majesty rounding off a trilogy that brings many rewards to the attentive listener. There is an earthy and sometimes unearthly grandeur in these recordings that comes from their understanding of song form and indeed long form and the use of the voice as an individual and collective instrument is both impressive and wonderfully expressive. These are recordings to lose yourself in and let your imagination fly.

Francis Comyn, Terrascope Online

‘Divining Movements’ is a double CD set adorned in yet another stunning sleeve which are becoming a vital part of Pariah Child releases. Like ‘Cave Hill Ascension’ the set consists of four separate works ; unlike that release they are not split evenly between a short and a longer piece. Each movement is timed at 23 minutes and for this project United Bible Studies is a four-piece; the core of Colohan, O’Donnell and Cooper are joined by Leivers.

Those heavenly wordless vocals play a major part in creating the beautiful soundscapes played out over the four movements. Occasional percussive sounds puncture the swathes of synthesized drones, saxophones float in on the wind, and it’s true to say that the listener is going to be drawn into another world while taking in these sounds. If their previous work touched you in any way, if you connected to the sounds that United Bible Studies have made in the past then if you buy just one more album by this collective make it ‘Divining Movements.

Taking in all four movements in one sitting ( 90 minutes) might sound daunting, the first time I listened to the first CD I couldn’t believe 46 minutes had disappeared, as i was so engrossed with the sounds I was wrapped up in. Some would call it meditation, I’m not so sure about that as I’ve never entered that world but I can say that the music truly took me on a journey and, especially in these worrying and uncertain times we are all living in right now, allowed me to forget all the craziness and just let these sounds envelope me. It’s music that you just get lost in; it draws you in, even when it slows to a deathly pace and sounds change unexpectedly you are still absorbed. Nothing will take you out of this state until the music finally stops completely. Trying to describe this music is futile; it’s beautiful, it’s what I imagine heaven to sound like and it’s going to pull me, and many others I’m certain, through some challenging times as well as creating calm in the stormiest of days.

Alison O’Donnell’s wordless vocals at the start of 'Movement 3' on the second CD are divine; not really wishing to leave the first CD to maybe discover that the final movements would take an entirely different route and diminish the glow set by the previous pieces, it was immediately apparent that, although each movement , is a separate piece of work there is a thread linking the pieces together and there is no less beauty in the final movements. I could live inside these pieces of music and what a wonderful, fascinating place that would be.

United Bible Studies have a vast catalogue of music available, there are over thirty albums listed on Bandcamp, but if these troubled times are taking their toll, you could do no better than to sample a little of ‘Divining Movements’ there’s a place in all our lives for this exceptional music just now. While all their albums have something to offer, for now at least, ‘Divining Movements’ is the absolute pinnacle of this exceptional collectives work.

Malcolm Carter, Penny Black Music

'Two cds with four songs composing a long Suite divided into four movements, it is the latest from the hermetic Irish group UNITED BIBLE STUDIES, formed back in 2003 or before, and that have that amazing syncretistic magic of groups that know how to mix perfectly Acoustic Folk, the Drone, the Mystery and the infinite possibilities of electrical distortion; Without going any further, I have to admit that the first thing that came to mind is the word Tara. After listening to Divining Movements the comparisons went to FURSAXA by Tara Burke and to those two wonders of EVANGELISTA, this time with Tara Barnes. Curious how much less in Tibetan Buddhism TARA is the 'mother of spiritual liberation and enlightenment of knowledge' ... but my mental diarrhea aside, United Bible Studies take its organic sound to a level of spiritual buoyancy bordering on the Shlokas Hindus, the power of the Sufi circle, the Russian Orthodox chants or the strangest liturgical ones (put the ethnic group / belief you want here). In a word, SOUND SYNCRETISM.Released in a beautiful digipack by the Pariah Child and Yoshiwara Collective labels, the current line-up (because quite a few members have passed) is made up of Alison O'Donnell (known for being part of Mellow Candle), David Colohan, Dominic Cooper and Matt Leivers, each one of which with its own ramification in diverse experimental projects of all kinds ... without going any further, the group in previous albums mutated to septet if necessary. As a celebration in 2021 of the 20th anniversary of the formation (damn, 20 years and I had no idea that they existed), and after dozens of works, in recent years they have wanted to offer their personal gift towards the Sacred so preluded by Cave Hill Ascension and West Kenet Ascension, this Divine Movements comes to close a kind of dronic Folk Psych trilogy of aúpa where a rural Folk Kosmische is unleashed guided by languid layers of saxophones that may recall the very first albums of The Mount Fuji Doomjazz Corporation or even those delights that inhabited Holy Records or Prikosnovenie (Rajna, Am Ganeshan and Caprice). As I said at the beginning, there are four pieces that are obviously not by chance, each lasting 23 minutes ... and I purposely make a small paragraph.

According to the Bible, Adam and Eve had 23 children, in verse 23 of the first chapter of Genesis it relates the death of Sarah (Abraham's wife). "The Lord is my Shepherd" is the best known Psalm of the Christian Canon ... number 23. The book of the Book of Revelation has 22 chapters, and well, I imagine the third is not written (number 23) because it will be THE NOTHING; the number of the beast is 666 that divided the two digits that make up the twenty-three (2/3 = 0.666) we obtain the number 666. The letter W is linked to Satan, and precisely occupies the 23rd position of the Latin Alphabet .... and well, all this without going into the absurd connections for me of the 9/11 attack and the World Trade Center with the number 23 and things like that. I stick with the musical before scaring off the staff.An exogenous as well as endogenous ritual journey. A lullaby for the stars or a funeral prayer for the Cosmos, the truth is that Divine Movements gives you goose bumps with its atavistic pastoral incursions that stink of Popol Vuh more drugged than usual ... or those songs of the music from the Mongolian steppes but substituting the diaphonic / throat singing Xöömej for the ethereal glossolalias that connect with the Heavenly Voices genre and even Bulgarian chants. Unfortunately, I do not have the previous two works that complete the trilogy, so I am going to stick to these 4 movements from their latest album and will try as much as possible to achieve them because UNITED BIBLE STUDIES have literally left my brain burned. The way in which the organs are used and the sounds are braided lead me to that spectacular album by the Norwegian Maja SK Ratkje, Crepuscular Hour (Rune Grammofon, 2016) and that even though it is not the same, it shares a vertebra thanks to the I flirt with the contemporary classic. In addition, even though it is difficult to express, there is a certain 'cord or umbilical cord', 'melodic motif', 'score' or whatever you want to call it that appears and disappears throughout the timing.

"Movements I & II" elongate space / time and plunge you fully into the singularity of a black hole. Start of the creative Cosmos and a Shruti Box / Harmonium in sacred copulation with an organ or similar together with very long guitar drones that maintain a flow of sound that seems to be taken from a particle accelerator. If your psyche matches the ethereal rhythm of the band, you realize that the syncopated ups and downs are sinusoidal in nature ... until the spectacular female voice in ecolálico mode (Lisa Gerrard) enters and the melody changes. Without daring to cite the term 'symphonic', there is a very powerful cosmic halo with a voice that I don't know if it's crying or rocking a rising star in its meteorite cradle. The Kraut influence is very marked, perhaps from Klaus Schulze or the very first (well, not as much as Electronic Meditations) from Tangerine Dream was Alpha Centauri. Those touches of the string (I don't know if something like a zither), bells, the small sax flutters bordering on minimalism and the powerful crescendos alternate with abrupt drops in the sound (fugues) ... if you manage to vibrate at the same length wave, the result is simply insane.Despite being improvised, and being all experimental, there is nothing arranged at random ... or rather it is as if RANDOM had been used to bring order to the matter. There is a detail that I cannot miss, and that although almost no one is going to sound like it, there are certain moments in which I think I am listening to the musical backgrounds (without mantras of course) of the great Craig Pruess in the transcendental cult classic Sacred Chants of Shiva. In the 17th minute of the first movement there is a very strange change, everything turns dark like the night of time and the drone / Ambient more twilight and lysergic is embraced leaning the voice on whistles, flutes or who knows what the hell ... like be immersed in body and psyche (soul) in Jon Hasse's Fourth World
The end of the first movement connects with the start of the cut in an ourobolic way, and at the same time gives way to the next 23 minutes with the presence of a vocoder-processed sax also used to deform the voices at certain times. The Past copulates with the future giving rise to bastards musical offshoots that are sacrificed to the God Ether. Contrary to what it might seem, the Folk elements are more marked here if possible, although only at the beginning ... in a subtle way it goes on to a very long hypnotic Ambient coda with occasional appearances of an organ that is very reminiscent of Badalamenti. Glorious epilogue for an ending with the sax in the foreground and a climate of considerable dreamlike strangeness."Movements III & IV" is another 46 minute devotions. Capturing the details is complicated but the sobriety of the beginning is remarkable. Timelessness shines and if one is open-minded, one could tie futuristic dystopian links with the brutal Blade Runner OST or go back to an apocryphal album by Popol Vuh, Emtidi, Lord Krisna Von Goloka or what do I know .... Steve Reich , Phillip Glass or the mother who gave birth to me. The vocal experiments are risky and the expressive palette broader if possible ... the tempo bloats to extreme limits, angelic chants (male and female) emerge; abruptly (minute 10), silence of two seconds and some bells and a church organ crossed by wind instruments and spaced piano notes begin.What is certain is that listening to this in a single session is hard and I recommend breaking it in two for greater enjoyment. Although it is sometimes almost impossible to find out which instrument is playing (I reiterate that the mortar is very well worked) it is clear that everything is organic and there are no synthetic devices like that wonderful flute that preludes the fourth and last movement, the most varied. , with more vocoder voices, quasi-alien keyboard effects, and a special emphasis on the cosmic. It should be noted that it is not until minute 7 of the second CD that some percussion in the form of Bodhran enters (only a few light touches, which is a shame because for a moment it seemed that they were going to enter Neofolk lands) for an act I often put in details that seem like something out of a Casiotone.I think UNITED BIBLE STUDIES has to be experienced calmly and either wait for your state of consciousness to change, or listen to them with an altered state of consciousness (via chemical or not, it's your choice). For my part, a fucking genius that has been edited by PARIAH CHILD.' Via Google Translate

'Dos cds con cuatro temas componiendo una larga Suite dividida en cuatro movimientos, es lo último de la hermética agrupación irlandesa UNITED BIBLE STUDIES, formados allá por 2003 o antes, y que tienen esa magia alucinante sincretista de los grupos que saben mezclar a la perfección Folk acústico, el Drone, lo mistérico y las infinitas posibilidades de la distorsión eléctrica; sin ir más lejos tengo que reconocer que lo primero que se me vino a la cabeza es la palabra Tara. Tras escuchar Divining Movements las comparaciones se me fueron a FURSAXA de Tara Burke y a esas dos maravillas de EVANGELISTA, esta vez con Tara Barnes. Curioso cuanto menos que en el budismo tibetano TARA sea la `madre de la liberación espiritual y la iluminación del conocimiento´... pero diarreas mentales mías a parte, United Bible Studies llevan su orgánico sonido a un nivel de flotabilidad espiritual rayana en las Shlokas hindúes, el poder del círculo sufí, los cánticos ortodoxos rusos o las más extrañas litúrgicas (ponga aquí usted la etnia/creencia que quiera). En una palabra, SINCRETISMO SONORO.

Editado en un precioso digipack por los sellos Pariah Child y Yoshiwara Collective, la formación actual (porque han pasado bastantes miembros) se compone de Alison O'Donnell (conocida por formar parte de Mellow Candle), David Colohan, Dominic Cooper y Matt Leivers, cada uno de los cuales con su propia ramificación en diversos proyectos experimentales de toda índole... sin ir más lejos, el grupo en anteriores discos mutaban a septeto si hacía falta. Como celebración en 2021 del 20 aniversario de la formación (joder, 20 años y yo no tenía ni idea de que existían), y tras decenas de trabajos, en los últimos años han querido ofrecer su dádiva personal hacia lo Sagrado así que preludiado por Cave Hill Ascension y West Kenet Ascension, este Divine Movements viene a cerrar una especie de trilogía de Folk Psych drónico de aúpa donde se da rienda suelta a un Folk Kosmische rural guiado por lánguidas capas de saxofones que pueden recordar a los primerísimos discos de The Mount Fuji Doomjazz Corporation o incluso esas delicias que habitaban en Holy Records o Prikosnovenie (Rajna, Am Ganeshan y Caprice). Como dije al inicio, son cuatro piezas que evidentemente no es casualidad, duran cada una 23 minutos... y hago a propósito un pequeño inciso.

Adán y Eva tuvieron según la Biblia 23 hijos, en el versículo 23 del primer capítulo de Énesis relata la muerte de Sara (mujer de Abraham). "El Señor es mi Pastor" es el Salmo más conocido del Canon Cristiano... el número 23. El libro del Libro del Apocalipsis cuenta con 22 capítulos, y bueno, el tercero imagino que no está escrito (el número 23) porque será LA NADA; el número de la bestia es el 666 que divididos los dos dígitos que conforman el veintitrés (2/3=0.666) obtenemos el número 666. La letra W está vinculada a Satán, y precisamente ocupa la posición 23 del Alfabeto Latino.... y bueno, todo ello sin entrar en las vinculaciones para mí absurdas del Atentado del 11S y el World Trade Center con el número 23 y cosas por el estilo. Sigo con lo musical antes de espantar al personal.

Un viaje ritual exógeno a la par que endógeno. Una canción de cuna para las estrellas o una oración fúnebre por el Cosmos, lo cierto es que Divine Movements pone la carne de gallina con sus atávicas incursiones pastorales que hieden a unos Popol Vuh más drogados de lo habitual... o a esas canciones de la música de las estepas de Mongolia pero sustituyendo el cántico diafónico / throat singing Xöömej por las etéreas glosolalias que entroncan con el género de las Heavenly Voices e incluso cánticos búlgaros. Por desgracia, no poseo los dos anteriores trabajos que completan la trilogía, así que me voy a ceñir a estos 4 movimientos de su último disco e intentaré en la medida de lo posible conseguirlos porque UNITED BIBLE STUDIES me han dejado literalmente el cerebro abrasado. La forma en la que se usan los órganos y se trenzan los sonidos me llevan de la mano a ese espectacular disco de la noruega Maja S. K. Ratkje, Crepuscular Hour (Rune Grammofon, 2016) y que aun no siendo lo mismo, comparte vértebra gracias al coqueteo con la clásica contemporánea. Además, aun siendo difícil de expresar, hay un cierto `hilo o cordón umbilical´, `motivo melódico´, `score´ o como queráis llamarlo que va apareciendo y desapareciendo durante todo el minutaje.

"Movements I & II" elongan el espacio / tiempo y te meten de lleno en la singularidad de un agujero negro. Inicio del Cosmos creativo y una Shruti Box / Harmonium en cópula sagrada con un órgano o similar junto a larguísimos drones de guitarra que mantienen un flujo de sonido que parece sacado de un acelerador de partículas. Si tu psique se acompasa al ritmo etéreo que lleva la banda, te das cuenta de que las sincopadas subidas y bajadas son de corte sinusoidal... hasta que entra la espectacular voz femenina en modo ecolálico (Lisa Gerrard) y la melodía cambia. Sin atreverme a citar el término `sinfónico´, sí que hay un halo de cosmicidad potentísimo con una voz que no sé si está llorando o meciendo a una estrella naciente en su cuna de meteoritos. La influencia Kraut es muy marcada, quizás de Klaus Schulze o los primerísimos (bueno, no tanto como el Electronic Meditations) de Tangerine Dream era Alpha Centauri. Esos toques de cuerda (no sé si algo así como una cítara), campanillas, los pequeños devaneos del saxo rayanos en el minimalismo y los potentes crescendos van alternándose con bajadas abruptas del sonido (fugas)... si logras vibrar en la misma longitud de onda, el resultado es sencillamente demencial.

A pesar de estar improvisado, y ser todo de corte experimental, no hay nada dispuesto al azar... o más bien es como si el AZAR hubiera inervenido para poner orden en el asunto. Hay un detalle que no puedo dejar pasar, y que a pesar que a casi nadie le va a sonar, hay determinados momentos en el que creo estar escuchando los fondos musicales (sin mantras por supuesto) del gran Craig Pruess en el clásico trascendental de culto Sacred Chants of Shiva. En el minuto 17 del primer movimiento hay un cambio extrañísimo, todo se torna oscuro como la noche de los tiempos y se abraza el Drone/Ambient más crepuscular y lisérgico apoyándose la voz en silbatos, flautas o vete a saber qué diablos... como estar metido en cuerpo y psique (alma) en el Cuarto Mundo de Jon Hassell.

El final del primer movimiento conecta con el inicio del corte de forma ourobórica, y a la vez da paso los siguientes 23 minutos con la presencia de un saxo procesado mediante Vocoder también usado para deformar las voces en determinados momentos. Lo Pasado copula con el futuro dando lugar a bastardos vástagos musicales que son sacrificados al Dios Éter. Contrariamente a lo que pudiera parecer, los elementos Folk son aquí más marcados si cabe aunque solo al comienzo... de forma sutil se va pasando a una larguísima coda Ambient hipnótica con puntuales apariciones de un órgano que recuerda muchísimo a Badalamenti. Glorioso epílogo para un final con el saxo en primer plano y clima de extrañeza onírica considerable.

"Movements III & IV" son otros 46 minutos devocionales. Captar los detalles es complicado pero la sobriedad del inicio es remarcable. Brilla la atemporalidad y si uno es abierto de mente, podría atar vínculos distópico futuristas con la brutalífica BSO de Blade Runner o bien retrotraerse a un apócrifo disco de Popol Vuh, Emtidi, Lord Krisna Von Goloka o qué se yo.... Steve Reich, Phillip Glass o la madre que me parió. Los experimentos vocales son arriesgados y la paleta expresiva más amplia si cabe... el tempo se abotarga a límites extremos, surgen angelicales cánticos (masculinos y femeninos); de forma abrupta (minuto 10), silencio de dos segundos y empiezan unas campanas y un órgano eclesiástico atravesado por instrumentos de viento y espaciadas notas de piano.

Lo que sí es cierto es que escuchar esto en una sola sesión es duro y recomiendo partirla en dos para mayor disfrute. Aunque sea a veces casi imposible averiguar qué instrumento es el que está sonando (reitero que la argamasa está muy bien trabajada) es patente que todo es orgánico y no hay artificios sintéticos como esa maravillosa flauta que preludia el cuarto y último movimiento, el más variado, con más voces en vocoder, efectos de teclados cuasi alienígenas y énfasis especial en lo cósmico. De remarcar es que no es hasta el minuto 7 del segundo cd en el que entra algo de percusión en forma de Bodhrán (solo unos leves toques ojo lo cual es una pena porque por un momento parecía que fueran a entrar a terrenos Neofolk) para acto seguido meter detalles que parecen sacados de un Casiotone.

Creo que UNITED BIBLE STUDIES hay que experimentarlos con calma y o bien esperar a que te cambien el estado de consciencia, o escucharlos con el estado de consciencia alterado (vía química o no, es tu elección). Por mi parte, una jodida genialidad la que ha editado PARIAH CHILD.' lamuerteteniaunblog.blogspot.com

credits

released April 2, 2021

For the second part of the Cave Hill Trilogy, saxophonist, Matt Leivers joins our trio of travellers, David Colohan, Alison O’Donnell & Dominic Cooper for an expansive inner journey. Without words, they speak to the elemental forces all around us. Feel the pull of the earth, moon and stars. Meditate, commune, absorb and release. Two discs. Four phases. Timeless.

license

all rights reserved

tags

about

United Bible Studies

'The music of United Bible Studies always emanates from a place where primal, slightly dangerous forces live.... Conjuring improvisations from pastoral forms and earthy drones, their art teeters between fierce exaltations of the flesh and celestial spiritual journeys.' The Wire ... more

contact / help

Contact United Bible Studies

Streaming and
Download help

Shipping and returns

Redeem code

Report this album or account

United Bible Studies recommends:

If you like United Bible Studies, you may also like: