spiritual ambient · piano
The first sketch for “Perished with the Novelty” was almost nothing: a long look at La Mancha, held too long.
I wrote it at the piano, mostly late, mostly by deleting.
If it slowed you down for forty minutes, it did its job.
Let it pass through.
I didn't plan “The Resurrection”. It arrived as a long look at La Mancha and asked to be finished.
Between the notes I left in as much La Mancha as I could.
That is all it wants to be.
Lately everything I write bends back toward church music.
Between the notes I left in as much La Mancha as I could.
I hope it meets you somewhere quiet.
No secret to how this gets made: one piano, two microphones, a room, and a lot of erasing.
Most of a session ends up deleted. What survives is the piece.
In the lineage of Erik Satie, Claude Debussy, Ludovico's quiet school, if I'm honest.
Everything you hear starts at the piano and stops there too.
Appears seldom, and only in small consecrated-feeling rooms across Spain — chapels, halls, quiet upstairs spaces. Never crowded. For intimate gatherings, enquire.
Made for headphones at midnight, or a room with the lights down.
Erik Satie · Claude Debussy · Ludovico's quiet school · Federico Mompou · Harold Budd
Raised on church organs and bells, chasing transcendence from a plain idealists love.
This is spiritual ambient: the piano used as a way of listening rather than speaking, tuned toward church music and the thresholds beyond it.
The recordings — “The Resurrection”, “Perished with the Novelty” — are stations on one continuous passage.
In the lineage of Erik Satie · Claude Debussy · Ludovico's quiet school · Federico Mompou · Harold Budd
