Richard Horowitz` career has seen him work with a list of names such as David Byrne, Jon Hassell, The Kronos Quartet, Bill Laswell, and Suzanne Vega. Contribute to Steven Halpern`s New Age creations. Record for Sony Classical with Teheran-born vocalist Sussan Deyhim. Collaborate with Ryuichi Sakamoto on The Sheltering Sky. Score countless other films and installations.
Eros In Arabia was originally self-released in 1981. Full of sustained harmonies and supernatural winds. Whispering ancient tales of heroes and heroines. Twisting chimes and percussion. Distorting into an Industrial mystic. Rhythmic chant colliding with bar room piano and harpsichord. Increasing in frequency, gamelan-like. Machines melting the hammered gongs to mercury. Steel screams and close mic`ed stress fractures. Musical reference points that I can hear include O Yuki Conjugate. The collective coincidently sharing space with Horowitz on Optimo`s recent Miracle Steps compilation. There are moments that recall Franco Nanni`s Elicoide, and Hiroshi Yoshimura`s Pier & Loft (just given a vinyl pressing by Chee Shimizu`s 17853 Records). While at times the sound manipulation could pass for Post-Detroit Techno. Unsurprisingly, since Horowitz has been exploring “Trance Music” for nearly four decades. Since meeting Brion Gysin and Paul Bowles in Morocco in the late 1960s. Where he pursued interests in Free Jazz and traditional instruments, such as the ney. At others it foreshadows the irreverent extremes of Kid 606. The hyperreal ambience of Visible Cloaks.
To some extent the shorter tracks act as a prelude for the closing 22 minutes of Elephant Dance. This finale combining elements of its predecessors. Beginning as a blissful Zen garden mediation of Eastern court musicians re-enacting the play of running water. Before gradually morphing into something more wilfully and overtly electronic. And back again. Until all boundaries blur.
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