#1 Rose Clouds above Temple. (30-7-2004) (8:27) for Rose C. F. Perry
A drone played upon two singing bowls underpin an improvisation upon a set of Yin bowls (mostly Manipura bowls) punctuated by cyclic strikes upon a Sky Gazing bowl. The punctuation of the Sky Gazing bowl is to signify the ritual activities of the monks within the temple whilst the Yin bowls represent the Rose clouds and the Heart chakra bowls suggest the spirit of unity between these several elements.
#2 Basgo – Stronghold of Tibet. (NKR) (31-7-2004) (6:27)
Played upon a wide range of Tibetan & Himalayan Singing Bowls this piece utlises silence plus some exotic-sounding bowls to reflect the face carved in the mountainside alongside the Monastery that is part of the painting that inspired this track.
#3 Temple of Rainbow Mist. (25-6-2004) (8:25) for Gabriel. N. S. Perry
The main part of this improvisation was recorded in 1993 and was originally intended as a bridge between the two tracks on Saturn and Mercury on Belovodye: Volume 1 Land of White Waters. It was not used simply because there was no time left on the CD! - and so, regrettably, it had to be edited. Exotic advanced techniques are used - some invented by myself. Water Gongs, Water Ting-shag, Chinese Buddha bowls, Tibetan Singing Bowls, Water Spirit bowls, home-made Boo Flute (a piece of bamboo 4.5 feet long with a Shakuhachi-style notch for playing but with no finger holes - for exploiting harmonics). This is then succeeded by a closing section using aleatoric techniques featuring Spirit bowls, Rain Gongs (another technique invented by myself), South American Indian Rainsticks, Water Spirit choir and home-made tiny brass windchimes.
#4 My Heart a Flame within the Eternal Fire. (10-2-2002) (6:35) for Frank E. Perry 11
An improvisation upon a specially selected small set of singing bowls exploring reinforced harmonics by using overtone bowls.
#5 Thang-La. (NKR) (31-7-2004) (5:15)
Here we have stroked Tibetan & Himalayan Singing bowls alongside bowed PAISTE Tuned Sound Discs (Planicerv) plus, beneath these spatial resonant sounds, a sequence of beautiful, heartfelt, warm and gentle bowls weaving their way through this floating ethereal sound-scape from within the very centre helping to keep us centred and make sure that we don't lose our basic humanity whilst coming into contact with these finer vibrations and spiritual impulses.
#6 Maitreya on the Road. (NKR) (11-4-2004) (10:51) for Janet Christine. Perry (my EX-wife)
Wind, Tibetan & Himalayan Singing Bowls, Chinese Cloud Gongs, Spirit bowls, Air Spirit bowls, strings of Indian bells (crotals), and various Camel bells.
#7 Mount M. (10-9-2003) (20:56) for Raphael J. C. Perry
Opening with large deep Gongs and then employing a set of Yang bowls leading to a special set of bowls and then exploiting a set of 42 Yin bowls and then reversing - thus creating something of an 'M' shape. There is a painting by Nicholas Roerich with this title but this music is not directly related to that painting.
#8 Magic of Divine Fire. (18-9-2004) (5:08)
Ululation bowls open this piece joined by a choir of Air Spirit bowls with very high-pitched Singing bowls added at times over large Gongs leading to the final section founded upon English Bell-ringing procedures - here played upon a set of 8 Yang bowls.
#9 News of Maitreya from the Rooftop of the World. (4-12-2004) (7:16)
Conch-shell trumpets, Gongs, and Singing Bowls create a backdrop for swung Drilbu (Tibetan hand bells). Underpinning this exotic sound-world is a series of Singing bowls playing the Fibonacci sequence. The Fibonacci Series represents the laws of nature. Fibonacci discovered this sequence of: 1 - 1 - 2 - 3 - 5 - 8 - 13 etc wherein the succeeding number is obtained by adding the two preceding numbers together e.g. 5 + 3 = 8. This is realised in this piece by the addition of new bowls to the series as directed by this Fibonacci sequence. This brings in the Law of nature whereby the future can be predicted once the formula is known and the current place within that formula.
