The second album from Terra Ambient, The Gate indicates a maturing of Jeff Kowal’s artistic talents and an exploration of new sonic palettes. It is an exploration in deep, rhythmic drones, with harmonic overtone singing, bansuri melodies and thick guitar textures. The Gate was produced devoid of synthesizers or drum machines. All instruments and instrument samples were recorded live and deconstructed with processing.
The GateTerra Ambient
In 2002, Jeff Kowal, a.k.a. Terra Ambient, made quite a name for himself with his debut CD - A Darker Space>. That exquisite blend of dark ambient, tribal ambient and space minimalism was a mainstay on many
‘Best of the Year’ lists.
His long-awaited and eagerly-anticipated follow-up is finally here! The Gate is every bit as awesome as his debut and then some! Jeff has found greater confidence and his tendencies to perfectionism have paid off handsomely on this CD! The seven movements in this processed acoustic symphony (no synths) weave tales of unknown strength and deep emotionalism. The moods range from dark and sinister to contemplative and healing to rhythmic tribal. Jeff handles each style expertly. His virtuosity on a large array (over 20) of acoustic and ethnic instruments (including one garbage can lid) is amazing. He mixes processed sounds and acoustic sonorities adroitly. The segues are seamless so the disc plays as a single long soundscape.
This disc works best on continuous play with the old style headphones that cover the listeners’ ears completely. A dark room with burning incense and candles enhances the experience tremendously. Mood altering chemicals are never necessary. This disc is extremely psychoactive on every level! It is also jeff’s ticket to the perpendicular universe!- Jim Brenholts, Ambient Visions
If ever a subgenre was in need of a transfusion, it's ethno-tribal ambient. With The Gate, a new recording from Terra Ambient (the alias of one Jeff Kowal), that transfusion has arrived and the patient is now not just healthy, but vibrantly alive! The Gate is among the finest recordings released in this genre since the turn of the century, and can placed alongside albums such as o yuki conjugate's undercurrents in dark water, Tuu's All Our Ancestors, Steve Roach and Robert Rich's Soma, as well as the recordings from Suspended Memories or Kenneth Newby. Yes, it is that good.
What astounded me was how Kowal accomplished this feat without the use of synthesizers. Instrumentation on the album includes his voice (harmonic overtone singing and other vocals), electric guitar, bansuri flute, didgeridoo, and more ethnic percussion than I will bother to list here, except to say it's a lot! Most of those are subject to some sort of processing (not the percussion, though) and that is how Kowal achieves such superb textures without using a keyboard of any type whatsoever. The Gate is an amazing achievement in sound design and recording wizardry.
Many of the tracks feature ethno-tribal percussion, yet the music carries a wafting sense of primal sensuality, even when there are rhythms present. Other apt descriptors would be: haunting, surreal, mysterious, earthy, shadowy, entrancing, and rapturously beautiful. Make no mistake about it, despite the darker tint to most of the music here, it is still utterly beautiful.
Kowal apparently excels at everything. His Bansuri flute work is wondrous, as it floats over the didgeridoo, carrying the main melody along as if it was a wisp of incense borne by a gentle wind. Speaking of his didgeridoo, he uses it in refreshingly subtle ways, so that it adds muted colors to a selection without overpowering everything else going on (a frequent complaint I have with that instrument on most albums). However, it's his percussion work that impresses me the most, as well as how he integrates his various vocal abilities among the rest of the assembled parts.
Allow me to detail some of this fantastic album's highpoints. ‘majoun’ is a Gamelan-type number and it's simply stunning, dominated by examples of that genre's tuned percussion beating out a steady pulse over assorted deep dark textures that ebb and flow, and Kowal's eerie yet intoxicating flute work, echoed as if being played in a huge underground cavern. Then there's the title track, wherein flute and didgeridoo slowly circling and taunting one another, before assorted hand drums and percussion slowly emerge from the shadows, along with a swelling of background vocal textures. ‘sandstorm dreaming’ opens in a hazy whirlpool of growling and barking didgeridoo and slowly introduces desert-like rhythms on hand drums before evolving into a subdued but undeniably powerful number that evokes a flight over a landscape consumed by massive sand dunes, with the distant ground racing underneath you and a sense of urgency pumping through your veins. ‘serpent and stone,’ an overt world fusion soundscape, contains Middle Eastern/North African textures and modalities, but still maintains a solid underpinning of ambient ‘feel.’ Kowal layers his assorted percussion and drums with a combination of surgical skill and poetic vision. On headphones, the mix is staggeringly intimate yet also wide and expansive. His use of electric guitar on this track is also highly original. I love the flow and energy of this song, as it churns along with the sensation of a person running from a nameless fear that is following right behind, pressing the pursued soul to go faster and faster, until the track subsides as his foe finally fades from his view.
The Gate is the debut recording from a band new label, Lotuspike Records. If this CD is any indication of the quality we can expect in the future, then I'd say Lotuspike will quickly make a name for itself (the next Darshan Ambient release is slated to come from this label, and soon).
The Gate stands as, dare I say it, a monumental achievement on the part of Jeff Kowal. This is an absolutely essential recording in this subgenre and should land on many ‘best of the year’ lists, guaranteed. It merits my highest recommendation with no reservations whatsoever.- Bill Binkelman, Wind and Wire
On The Gate by Terra Ambient, electronic musician Jeff Kowal leaves the ranks of his synthesizer absorbed brethren to relate his personal musical story through performances on a range of exotic acoustic instruments. With this move, Kowal does achieve multi-instrumentalist status, but does not stray too far from the technology associated with more overtly electronic sounding mind-music. Kowal brings to this genre of ‘Forth World’ tribal-ambient soundscapes an enthusiasm and accessibility that is demonstrated in his album's energetic melodic content and virtuoso musicianship. The mood emanating from The Gate is ceremonial, primordial and enigmatic. Leading the listener across a range of musical terrain, from minimal and dark to powerful and celebratory, The Gate is a dynamic cerebral journey to an internal place defined by the individual.- Chuck van Zyl, Star's End
This CD from 2004 features 50 minutes of arcane ambience. Terra Ambient is Jeff Kowal. Electronic textures fuse with didgeridoo and other ethnic instruments to produce an ethereal dose of ambience tempered with lazy tempos and sighing woodwinds. Voices and guitars undergo extreme processing, entering the mix as tenuous sounds that enhance the overall haunting tuneage.
Languid harmonics drift like thick fogs that refuse to merge. Relaxed beats and pensive wheezings flicker amid these clouds, connecting air and soil in a union that literally transcends conventional styles to resound with a global demeanor celebrating a human spirit devoid of nationality.
While nationality plays no part in this music, geography does. The songs evoke arid climates shrouded in twilight and seething with mystic implications. Listeners are ushered through a cerebral gate to witness antediluvian ceremonies involving natural forces and mute stone.
Sandstorms rise in the distance, creeping slowly forward to engulf the audience in their breathing resonance. The eerie didgeridoos and shuffling rhythms generate a mild urgency that escorts you safely through the dry tempest.
Desert flutes waver and tremble, calling to the night. This CD will definitely appeal to fans of Steve Roach's tribal music.
The Gate’ is the second cd of Jeff Kowal aka Terra Ambient, which took him over two years to complete. In the meanwhile Jeff also established the brand new label LotusPike with two companions, on which ‘The Gate’ is the first release.
Well, the new album is a welcome and strong one, as it offers a 50-minute mystical journey into ethno-ambient territory. While all hand forged loops take the background on all seven tracks, the main course is filled with a variety of tribal percussion and strong, rich sounding flute.
The overall organic content is attractive and accessible. Musically it moves somewhere between Robert Rich (especially ‘Majoun’ leans towards ‘Rainforest’) and the mystifying sound sculptures Steve Roach has visited the last decade or so.
A strong effort by all means.
This is the second release by Jeff Kowal a.k.a. Terra Ambient, and like the first it treads ground previously walked by Steve Roach, Robert Rich, Loren Nerell and other contemporaries, but steps off the path enough to explore new nooks and crannies in the tribal ambient genre. In the aforementioned list, I hear a bit more of Nerell’s sound than the other two, Kowal leaning toward ethnic and world influences as opposed to creating synth atmospheres. The liner notes list an impressive array of instrumentation, mostly of the primitive variety such as bansuri, Chinese gongs, Tibetan singing bowls, frame drums, and the like. The result is an organic soothing heady brew of sounds. Soft smooth drones are accompanied by gentle tribal beats and fluty sounds. ‘Majoun’ is almost fully percussion, with a subdued, slightly mournful lead instrument that sounds similar to vidnaObmana on his fujara. ‘Sandstorm Dreaming’ features didgeridoo and richly textured layers of other native sounds. Most tracks have at least a gentle rhythm rolling through them, but ‘Westerly Prayer’ floats on the tranquil air. ‘Serpent and Stone’ combines drumbeats, drones, and stringed instruments in a cool collage. ‘Blood’ contrasts primal rhythms with electric guitars and more didgeridoo, and brings The Gate to its conclusion.- Phil Derby, Electroambient Space