Na'vi Dreamtime

Balder,

There I was, responding via pm on another site. All the while the link is here too.

(i.e., here's what I wrote when I didn't think anyone else would read it):

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Na’vi Dreamtime builds and maintains well, processing steadily with congruent elements introduced and pronounced without elaborations that detract from clarity of the shapes taken by the few-enough lines in play.

The use of loops supporting melodic strains can act as (visual, so-called) negative space, or they can impose periodicities of pattern which, by invariance, counter, rather than reinforce, specific inflections in a given moment of the piece. If the intermittent tensions contingent on the incidental-ness of the loops are intentional, or stem from the happy accidents of artistry, I’d say they belong as is. If they are automatic momentums among an otherwise modulated arrangement I’d question their necessity to the integrity of the work.

You may be content to leave samplings untweeked, letting their voice have its say, however redundantly, in what you’re saying, or maybe they represent an opportunity of cultivation in an area you’ve spent less time, as yet, weeding and planting in.

Whatever value you hear in an element of your music, I wonder how far your intuitive volition reaches around these respective aspects. Control is no goal. Expression is. Plagiarism is hardly as satisfying as creative writing. All music is collaboration, no matter how lone the solitary musician. My main question re: Na’vi Dreamtime is How consciously chosen, or allowed, or facilitated, is each part of the whole? Where is there still canvas where paint hasn’t touched?

The foreground is vibrantly alive with playing! The backdrop is left far behind the expressive dynamism of your hands-on, lips-on, breath imbued frolicking romp across… a curiously repetitive terrain.