The initial impetus for "Circular Scriptures" was to create subtly complex, slow-moving, diaphanous sheets of sound, multiple layers or washes of feeling tone—all interacting, with little distinct points of reference. At the time I began this album, I was deeply immersed in the channeled information of Kryon (Lee Carrol) and Tobias/Sainte Germaine (Geoffery Hoppe).
In particular, I was/am intrigued with the idea that although we may experience the events of our lives as series of linear events, with one seemingly leading to another, time is not actually linear. Instead, "time" (a phenomenon that is said to be unique to our experience as Human Beings) is non-linear, multi-faceted, multi-dimensional, more or less metaphorically running and intersecting in a mind-bending multitude of directions all at once. Correspondingly, because we seem to experience time as linear and sequential, our beliefs and thinking have become linear and sequential. However, as we begin to understand the multi-faceted nature of time, our true selves and our experience, we will need to create new metaphors, new understandings, new scriptures, that reflect this broader understanding, which are circular rather than linear—circular scriptures. The music simply sprang from the seeds of these metaphysical influences that tell of the grandness and unlimited possibility of undefined, unconfined Being that are we currently standing on the threshold of. I intended that “Circular Scriptures” be a soundtrack for timelessness.
“Circular Scriptures” times in at about 70 minute and consists of 3 tracks: “Light, Mother of Shadows” 24:57; “Circular Scriptures” 20:35; “I Have Already Left the Room” 28:38. This album is characterized by occasional hints of natural sound, shimmering diaphanous semi-transparent layers of sound that come forward, recede, overlap, earth shaking timbres that surface, rumble and submerge again, and near orchestral/symphonic/choral allusions. The initial sketches where done in a very spontaneous manner, utilizing some large segments of sound that I had been experimenting with at the time, bringing together the elements with an emphasis on emotive qualities and their ability to shift, morph and interact with one another. The final product was refined and distilled over a period of a year to maintain a certain level of simplicity and light. The final track, “I Have Already Left the Room,” features occasional additional sounds from Matt Hiller/Ishq.