“Brian Eno meets Massive Attack and classical guitarist John Williams”
The idea of an afterlife has fired imaginations across cultures for millennia and is one of the earliest belief systems in recorded history. It is fascinating to consider that a type of identity or stream of consciousness might exist in the absence of the physical body.
In ‘Music In The Afterlife,’ Gareth Koch & Martin Kennedy have created a sound world which seeks to convey a continued existence taking place in the spiritual realm, or otherworld. In mythology there are phases through which the consciousness passes before arriving at a reward in the afterlife. The Koch/Kennedy songs, or pieces, reflect imagined states in which the protagonist journeys through the stages of waiting, trance, drifting, resignation & Elysium.
In their debut collaboration Viennese-trained classical musician Gareth Koch & ambient music specialist Martin Kennedy have created a unique sound world. Their compositions weave acoustic & electronic realms into a seamless fabric in which medieval, folk & electronic influences are entwined. If this melange is beginning to sound like an unholy brew nothing could be further from the truth. The pieces are deft, intuitive & hypnotic, drawing the listener into a reflective & profound listening experience.
In what is termed classical music (perhaps more aptly described as western art music) the earliest notated plainchants of around CE930 were centred on spirituality & belief in the afterlife. From this point onwards classical music evolved with a connection to an otherworld or divine, often embracing various mythologies. Ambient music came of age in the twentieth century in the era of electronic synthesisers, but its origin’s date back to French classical music composer Erik Satie. Satie pioneered a genre of music which emphasised tone & atmosphere, providing the ideal sonic environment for contemplation & spiritual reflection.
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