“Meditations on Mindfulness” C47
(Constellation Tatsu)

Four tracks, with three on side A.

The first track, ‘Intro to Breathwork’, has me processing a not quite peaceful collage. Subtle, thin. sharpie’d lines of violence faintly trace curling, outer shapes; here, paramedics are loading a strapped-down-me into the back of an ambulance on some rainy morning, ambient blips and squeaks cancelled out by focused, staggered breathing; all the while, passing traffic and conversation is translated into deep, peaceful, bassy drones.

In comes ‘Deep Water, Lemurian Tides’. Subtle waves of tape hiss beg for attention and then assume insignificance, whilst, juuuust behind, e-bow(?)’d bass guitar swells wash in and out, carrying accompanying overtones and feedback, all of which, once memorized, make, not only good, solid sense, but an outright ‘fuck-the-facts-this-is-my-divine-affinity” document; a non-verbal ontological refinement of some alternate self, in real time. Moods of ancient experiences are hinted at; continual, minimal shifts tease attention to juuuuust pay a juuuuust bit more a-tttttention… until the ten minute mark reminds us how we’re actually only receiving instrumental transmissions and not earnest, captured glacial moan-grunts.

‘march towards time’ …what better way to sum up neil young’s favorite fascination than to lead an arrhythmic bass-pulse throughout what it might sound like if a buncha weirdos chugged along through simple riffs at the bottom of a hundred-level-deep stairwell…with their friends from ‘the band’…and then added more reverb than any beluga whale has ever known.  Maybe I’m sentimental here? Read into me? Halfway through this track, the movement gets outright interpretive-danceable, with cymbal swells, synth-twang, and the ever-pervasive highway tthhrruumm that maybe just might be an unhealthy heartbeat.

‘Temple of the Clouds’
This last long track, taking up all of side b, is simple. Get down to forgetting. The tape hiss, by this point, excites and juxtaposes those previous bass hymnals on le prior side. I can’t help but envision a half-timed clip of ‘Cheers’, where everyone syncs into an eyes-closed-slow-nod-in-understanding; with some monolithic requisite we’re all in no hurry to, but are, nevertheless, still struggling to adapt to.

- - Jacob An Kittenplan