Didgeridoo playing is one aspect of human activity that I have gone further than any other activity I have been doing. This gives me some insights that I can recognize as more general rules of human-cosmos relationship. Thus I can learn on very small field big lessons which I try to apply to the big field. What I learned about didgeridoo is that it is in fact  an instrument called “didgeridoo not assume anything”.

“Wrong questions”

I come to the this topic, which might be a crucial point in didgeridoo playing, since I am often asked in person or by e-mail various questions. Some of the questions I could describe as  “wrong” .  What does this “wrong” mean to me? It means that I have collected some experience about this topic that I am asked about and on the foundations of this experience I would never formulate the question I am being asked.  Simply, after having the experience that surpasses the question, this question becomes senseless. I remember also many of my own questions from the past that I now recognize as “wrong”. Maybe I still have many “wrong” questions I don’t notice.

Where do “wrong questions” come from?

It seems to me that  many of this wrong questions come from the point of confusion, of believing into ideas, thoughts as facts.  This comes when you do not notice your knowledge is in fact an assumption, belief, idea, and make too quick conclusion.

Example 1. One day Krumpahijel tries a very long didgeridoo. It is difficult to play and Krumpahijel hardly gets a drone. He gets discouraged a bit and concludes that this long didgeridoo is difficult to play. He assumes, without noticing, that all didgeridoos are difficult to play. One day he asks his fellow player: ” Why do you have such long instruments when they are impossible to play, except “meditatively”?”

Example 2. One day Krumpahijel falls in love with a famous didgeridoo player called Rick the Stick. He reads everything in his webpage about didgeridoos, and since he adores Rick the Pr.. Stick, he believes Rick everything he writes.  He assumes it being right because Rick is such a great player in Krumpahijel‘s eyes.  Krumpahijel follows this teaching but cannot do anything the same as Rick. After a long while, he puts his didgeridoo aside asking “why am I no good in didgeridoo playing?”

“Wrong questions” act as dead end street.

If you assume you can go through a concrete wall does not necessarily make you go through concrete wall. Alive. Or without tools. Unless you are a Superman. In the same manner, if you assume how you should play a didgeridoo and believe it as a fact, it can bring you a lot of frustration and bring you nowhere.

Friends of confusion

Assumption taken as fact. Rush. Too many words. Wish to do something at once. Idols. Desires. Temperament. Laziness for collecting experiences. Conclusions.
When we stop (our mind) we can all  recognize the difference between what we really know and what we assume and believe.

Friends of  clarity

Not assuming without realizing that it is an assumption.  Breaks in thoughts, moving, doing. Dedication. Balance. Peace. Ability to endure forever. No ego.

Easy conclusion

I always want to get away from conclusions as they are often friends of confusion, false knowing. But this time, in this aspect,  it is very easy for me to say a conclusion. It is:  DO NOT BELIEVE ANYTHING I SAY, TRY IT FOR YOURSELF! And when you try it, keep clear head to distinct what what it is that you experience and what it is that you assume. I enjoy your questions from experience, please ask some more!

-Du

This is the beginning  of the story of  HOLP, House of  Life Possibilities, what it is generally and why it is important to Everyone. For me personally, it reflects in a life in forest, another environment, another dimension for didgeridoo practice and crafting. It is exploring “new life and new civilizations” inside ourselves, being totally wrapped in perfect cosmic surrounding.

HOLP: Definition.

It’s been such a long time since I’ve been here…

For the story I want to tell you… feels awkward to type it on a keyboard… it would be more appropriate to carve it with a chainsaw and pound it with a hammer… but this is not a way the internet works so we do it the old fashion way. Dim the lights please…

This is the story of a house.  But not just any house. It is The House of Life Possibilities.

Everyone has the House of Life Possibilities, but needs to discover it. This is not a dream house. Though it can be. This is a house that resonates the same way you do, allows you to grow the flowing potentials and connect to the space around you. To find this house you need to find what are your true wishes and resonances.

HOLP is not a “perfect” house.  It was never meant to be. This house does not have everything you can imagine. HOLP is a house that fulfills your real wishes, not the unimportant infinities of thoughts. HOLP might not be in the middle of some Pacific island, it might not have marble pathway, nor be at some mystical place that holds tremendous powers. But HOLP will be there for you and your way of living, every day, whatever may come!

HOLP: My own.

My HOLP story started a long time ago. I was born and lived my whole life (up till now) in a city. I had a room I shared with my brother, or a flat I shared with a girlfriend. I had no outdoor place for doing “stuff” and my workshops were small basement rooms.  All this time I was always puzzled when I had to deal with large pieces/amounts of wood to which I have always been immensely drawn to. I had separation from forests that have always been calling me. My didgeridoo story which had no sense of limits, and I am quite sure you are familiar with it, made the situation of dealing with all this more and more complex.

I wanted to know what it is like to create didgeridoo music in a different kind of environment. Where nature is on the move rather than swarm of cars. Where every day is Tuesday. Or any other day. I wanted to really hear the sound of earth and the echo in the woods. To start creating in the forest way of being for me was not anymore a choice, it was a must.

My HOLP had foundations in me for quite a while since I even had any idea what it would look like. I only knew what would be the essence, the heart of it. From this heart vision, the real thing started to emerge in the beginning of this year.

HOLP: To Life.

Magical Lady Da, the crazy cosmic architect, put everything on a big piece of paper in the very forest that we have and the idea of HOLP became more alive as first drawings arose! From this the whole project started to unwind and in March this year we started to actually build it. Since then I lost sense of time and a lot of connections to the outer world…I have been working so hard hard hard as a very hard stone that is hard to imagine how hard it is. But even after 7 full months I must admit we are still far from end. We just realize every day how much more we need to do. So I can’t wait anymore.

I NEED TO RECONNECT NOW.

I need to reconnect with playing. I need to reconnect with my instruments. I need to reconnect with You.

HOLP: Reconnection.

I want to tell you the story of this forest didgeridoo transformation, search, spiraling in and out, reconnecting, reverbrating with trees, with revertebratae,  inhaling the breath of birth, exhaling the breath of death in every moment, being totally there. Also in small words and simple stuff. Like what beauty lies in mixing earth and water. What being constantly outdoors does to your body and perception. What is tree looking good for and what can you hear in the forest in the night. Finally, every time and again, how it all reflects in didgeridoo playing.

For now we had enough words…  all I will do more, I will leave you the secret passage to the world of HOLP:
holp.posterous.com

See you soon!
Du

Two years after Kosmopterix, after long search in depth and darkness of Kozmos vastness, a new articulation of unseen winds of didgeridoo music is born!

So what is new about the new album? What do the new “creatures” bring us?

Firstly, the new sound, the new code, the “air” code of didgeridoo music.  In counterbalance to “earth” code, which is playing with lips in permanent touch to didgeridoo and full body motion, the air code has only partial touch to the didgeridoo but also full body motion. The result is more discreet, defined sound compared to the full and saturated sound of earth code.

The air code was firstly introduced with songs like “Korvo Eksaltiko” and “Lake of Awareness” (second halves), but did not reach the full potential of expression at that time.

Secondly, and mostly for didgeridoo fellow players, new techniques arose. They again rely heavily on breathing, but also incorporate control factor of stopping the lips vibration which gives again this “well defined” sound.

Thirdly, no artificial reverb was used, and there was a very peculiar method of recording instead. The sound of Dubokobud rests on the Y construction of three didgeridoos.  http://www.youtube.com/watch?v=AuxJqbDtBC4 The “stem” was the playing didgeridoo, while branches were used for recording. So the sound of Dubokobud can also be expressed as a stereo square of one didgeridoo sonic imprint. The total reverb is quite less than usual and gives a high level of detail, revealing all the nuances of playing.

<a href=”http://music.lapaine.com/track/duboki-oblici-oblaci” mce_href=”http://music.lapaine.com/track/duboki-oblici-oblaci”>Duboki oblici oblaci by Dubravko Lapaine</a>

Fourthly, new production was applied. The sound picture was put more to middle frequencies and presence to capture the articulation. Also, harmonics were specially captured and redrawn into recording which you can hear as “sonors” following the song.

Fifthly, Dubokobud was played only from sketches of songs. It relied on the present moment fluctuation in the Kramasonik studio.

Sixtly, Dubokobud is the current reflection of cosmic currents.  It is what is flowing through this area in the universe, complementing the energy that is already here.

<a href=”http://music.lapaine.com/track/prorok-oblaka” mce_href=”http://music.lapaine.com/track/prorok-oblaka”>Prorok oblaka by Dubravko Lapaine</a>

First hard copies will be available in Berlin at Didgevent

The crew did their best to give you the piece of Kozmos, presented through a single tube, hope you can find something for yourself.  If you do, please share DUBOKOBUD

I believe that best contemporary didgeridoo players will be those players who are great singers.”

I would like to tell you a story about some knowledge that goes beyond time. Since I am a didgeridoo player, I have to start with my origin, didgeridoo. But I will not go very far away, anyway.

Sometimes I take a step back and take a look of this enormous abstract cosmic beast of total inner didgeridoo world. And for some time, it seems to me three things are pointing out of this mass/mess, so I would like to point them out to you.

First is BREATHING.

This is without doubt the most fundamental phenomena upon which all sound structure is built. Both inhales and outhales. And the very best way I have learned to breathe was to play didgeridoo. I developed my own exercises which focus on breathing, usually with some unbendable time device, such as metronome or rhythm machine.

Second is LIP CONTROL.

Lips are responsible for all those beautiful texture/colour/harmonic changes didgeridoo sound has. First melodies also rely upon it, since toots are done inevitably by control of lips. Best ways to practice lips are also didgeridoo based. I found that trumpet or other brass mouthpieces and inner logic/rules were simply too different to practice didgeridoo way of lips control on them. Didgeridoo is still the ultimate lip training device.

Third is VOICE.

I believe that best contemporary didgeridoo players will be those players who are great singers. Really special quality of voice is that it exists outside of didgeridoo world as a completely independent entity. Even more, it is in a way more primitive, primordial, more strongly connected to human form than didgeridoo. It is the only “instrument” that I feel has this quality. I had been practicing my voice in the tubical boundaries of didgeridoo for quite some time when I felt that I need to go outside of this realm, to the realm of pure voice to allow my voice to grow more freely and vigorously.

Since I was a bit lost in this domain of singing, I had to find a teacher. Since I am a kind of no-institution being, this is the kind of singing I was looking for. FREE singing! And I strongly and very happily resonated with what I have discovered, by pure luck, to be in my home town. By pure luck I say, because later I found out that these singing lessons are very rare.

I discovered the method of “uncovering the voice”, also known as Werbeck method. I will retell it in my words – it is a method which was developed by a 20th century prodigy singing girl who had lost her voice due to harsh academic exercises, and had to regain it from zero. She did it, in the fullest beauty, again, and with help of Rudolf Steiner wrote a book about it, and further developed the method for other people to have benefit of it. This method percieves voice as outside entity, a cosmic voice, to which our bodies are mere receptors. And if our bodies are unconstricted, unbent, not frustrated, not distorted, then the voice goes freely, strongly and beautifully though us. And THAT is singing. Not “us” trying to sing. This method is a lot about letting go of ego, which is very beneficial to our singing. It is beautiful in so many ways… one is that you don’t really need to know anything, literally anything about singing, and you can “cope” with this method perfectly.

Werbeck singing has enriched me in many many ways, but I would like to tell one “picture” which will describe greatly the power of this singing. When I was younger, much much younger, and not so much younger, I trained tae kwon do and gymnastics. I have been doing it a lot, and with time my hips were starting to fall out of their place. It had quite brutal methods of adjusting them, and they were quite painful. It lasted for several years. But when I started to practice singing in Werbeck way, the hips would through singing adjust themselves with no pain. For me it was pure magic. By no other means, including “normal” singing, I could have ever done it like this. Now one can say that Werbeck singing is Mumbo Jumbo, but after experiencing joint adjustment of such easiness and harmony through singing(!), one is left speechless, but with huge smile! But, please, do not get attached to this story. The biggest benefits are, naturally, the ones you get in your singing abilities.

There are many more crazily great aspects of Werbeck singing, and once I might devote some time to describe it, but for now, I would leave it up to you to discover it. How? – you may wonder. Well… I am specially happy that BlackMary, the infamous voice of Druyd, and long time Werbeck singing practitioner, has started go give her singing lessons, and they are open for public! =) If you live close or in Zagreb, and have at least a tiny spark for singing, you feel a bit unadapted to the classical structures of music, and might even lack a bit of confidence, I would with most easy heart, most honestly recommend you to visit Madam BlackMary and let her help you discover your voice which is now roaming free somewhere in space. Jump to her Myspace page to find out how to contact her – GO NOW!
If you are not from Zagreb, well… you can call her to give a workshop! How – simply write her a mail at: marycpilas@yahoo.com
I am quite sure you will be very grateful to yourself that you have done it. It is my most warm, most honest recommendation.

May the Voice be with you!

Du

“Vjerujem da će nabolji moderni svirači didgeridooa biti oni svirači koji su ujedno i iznimni pjevači.”

Htio bih vam ispričati priču koja postoji izvan vremena. S obzirom da sam ja svirač didgeridooa, moram početi sa svojim ishodištem,didgeridooom: No ionako neću daleko…

Ponekad ustuknem za korak, dva, pred onim što se dešava. Ustuknem da pogledam tu ogromnu amorfnu masu jednog fantastičnog živog bića, cijelokupnog didgeridoo svijeta. I već neko vrijeme mi se čini da tri korijenske iznimnosti strše, i htio bih vam svojim vlastitim strhom ukazati na njih.

Prvo je DISANJE.

Ovo je nedvojbeno najosnovniji fenomen na kojem je cijelokupna zvučna struktura sagrađena.I udisaji i izdisaji. Daleko najbolji način na koji sam naučio disati je samo sviranje didgeridooa. Razvio sam svoje vlastite vježbe koje se usredotočuju na disanje, obično uz pratnju nekog nepokolebivog vremenskog stroja kao što je metronom ili ritamašina.

Drugo je KONTROLA USANA.

Usne su odgovorne za sve one prekrasne teksturalne/obojene/harmonijske promjene koje je didgeridoo kadar izvesti. Prve melodije također počivaju na vibracijama usana, s obzirom da se alikvotni tonovi izvode neupitno snagom i kontrolom usana. Najbolji načini za vježbanje usana su također vezani uz didgeridoo. Usnici ostalih puhačih instrumenta su mi jednostavno bili prerazličiti da bih mogao kasnije vještinu prenijeti na didgeridoo. Didgeridoo mi je bio i ostao ultimativna naprava za vježbanje usana.

Treće je GLAS.

Vjerujem da će nabolji moderni svirači didgeridooa biti oni svirači koji su ujedno i iznimni pjevači. Velika je posebnost glasa, osobito naspram prethodno spomenutih disciplina, da postoji i izvan didgeridoo svijeta, kao sasvim nezavisan entitet. Štoviše, glas je na neki način još primitivniji, još primordijalniji i čak je još jače vezan uz ljudsku formu od didgeridoo-a. To je jedini „instrument“ za kojeg osjećam da ima to svojstvo. Bio sam vežbao svoj glas unutar cijevolikih granica didgeridoo-a dugo vremena kad sam osjetio da moram izaći iz tog područja, u prostor čistog glasa da dopustim svojem glasu da se razvije do svojih punih potencijala.
S obzirom da sam bio pomalo izgubljen u domeni pjevanja, morao sam naći učitelja. S obzirom da sam biće izvan gotovo svih institucija, to sam tražio i u pjevanju. SLOBODNO pjevanje!  I snažno i sretno sam zarezonirao s onime što sam pronašao, čistom srećom u svom rodnom gradu. Čistom srećom kažem, jer sam kasnije saznao da su ovakvi satovi pjevanja vrlo rijetki.

Otkrio sam medodu „otkrivanja glasa“, poznatu još kao Werbeck metoda. Prepričao bih to svojim riječima – to je metoda koju je razvila čudesna pjevačica dvadesetog stoljeća koja je svoj glas zbog grubih vježbi na konzervatoriju u potpunosti izgubila i morala ga je ponovno stvoriti iz nule. I prizvala ga je ponovno k sebi, u punoj ljepoti, a uz pomoć Rudolda Steinera, čuvenog antropozofa, napisala je i knjigu o tome, i dalje istražila metodu za druge ljude, da bi svi od nje mogli imati te iznimne dobrobiti i darove. Ova metoda pristupa glasu kao vanjskom entitetu, kojemu su naša tijela samo receptori. I kad bi naša tijela bila nespregnuta, neizvinuta, nefrustrirana, nestisnuta,  onda bi glas prolazio slobodno, snažno i prekrasno kroz nas. I TO je pjevanje! Ne „mi“ koji se trsimo pjevati. Ova metoda je uvelike o otpuštanju ega, što je vrlo dobrohotno prema našem glasu. Prelijepa je na toliko načina… jedan je da ne morate ništa, doista NIŠTA,  znati o pjevanju i možete se „suočiti“ s ovom metodom savršeno.

Werbeck pjevanje me obogatilo na nebrojene načine, no htio bih prikazati jednim primjerom koliko je to doista moćna stvar. Kad sam bio mlađi, toliko mlađi nego što sam sad,  al i ne baš puno mlađi, trenirao sam tae kwon do i gimnastiku. Radio sam to dugo, puno i često i s vremenom su mi se kukovi malo razlaba(la)vili i počeli su ispadati. Imao sam poprilično brutalne metode njihovih namještanja koji su bili popraćene pozamašnim bolom. To je trajalo nekoliko godina. No kad sam počeo prakticirati Werbeck pjevanje,  kukovi su mi počeli namještati sami od sebe, bez ikavog napora i bez ikakvih bolova. Za mene je to bila čista magija. Ni na koji drugi način, uključujući i „normalno“ pjevanje, nisam to mogao ni sanjati postići. Moglo bi se učiniti da je ta priča oko Werbeck pjevanja patka, no nakon ovog medicinskog fenomena namještanja razlohanih zglobova takvom lakoćom i harmonijom pomoću pjevanja, mislim da se to više ne bi moglo učiniti. Učini se samo veliki osmjeh! Ali, molim vas, nemojte se priheftati za ovu priču. Najveće beneficije Werbeck pjevanja su vezane uz pjevanje

Postoji još toliko fantastičnih aspekata Werbeck pjevanja, i jednom bih mogao odvojiti vrijeme da vam ih opišem, no zasad bi vama ostavio da ih otkrijete. Kako? – mogli biste se pitati… E pa, jako sam sretan da je gospođica Blackmary, pjevačica preslavnog Druyda i dugogodišnja praktikantica (praktična kantica) Werbeck pjevanja, počela davati satove pjevanja, otvorene za javnost! =) Pa ako živite blizu Zagreba, ili u Zagrebu, i imate barem malu iskru želje za pjevanjem, ako se osjećate malo neprilagođeni klasičnim muzičkim strukturama i možda vam čak pomalo nedostaje samopouzdanja, čistog srca, najtoplije bih preporučio da posjetite gospođicu BlackMary i dopustite jos da vam pomogne da otkrijete svoj Glas kji sada slobodno vrluda  negdje u svemiru. Doskočite do njene Myspace stranice da saznate njen kontakt – DOSKOČI!
A ako niste iz Zagreba, pa… možete je pozvati da vam održi radionicu! Kako- jenostavno joj napišite mail na: marycpilas@yahoo.com
Poprilično sam siguran da ćete si biti zahvalni da ste to napravili . Ovo je moja najtoplija, naiskrenija preporuka.

Neka Vaš Glas bude uz Vas!

Du

Last year, everything was brought to a new level for me. People who know me from didgeridoo world might be in belief that I am some kind of an expert on how to play didgeridoo, a skillful master, but in fact, I am a novice, complete beginner, smallest creature, standing naked in a hugest ocean there is.
You might think I tell you this because I am humble, but let me tell you more.
I have no words to express the gratitude that Mr Yr found me in deep sea of Zagreb lost musicians. And Druyd started.
At first it was swimming of Mr Yr and me in vast sessions of detailistic playing which were long and very enjoyable, but irregular. It wasn’t until this year that we started to play regularly for a longer period of time and Miss BlackMary joined us.
Now let me get back to the novice part of the story.  Most of our compositions are very irregular, in a regular way, meaning that the count of bars is often different, count of measures, breaks, everything was put in a song to satisfy some special “perfect” feeling of it. So often if I am absent minded for one second (not exaggerating)  I miss the song by miles. But there are far more simple tasks I fail. For example straight rhythm. Most plain, the easiest possible. In theory, of course.
So we start playing, and they stop, saying “Du you are slow, you are dragging us behind”.
“Really?” say I. “I must have been absent minded, I will concentrate now”
We start to play, and soon we stop-
“Du you are dragging us behind.”
“Again!?! But how is that possible!? I was concentrated!!!”
So I repeat that again and again, just to make sure everybody is very sure that it is a mistake, and especially me.
How is it possible that I “all of a sudden” miss so much? I have been practicing with metronomes and rhythm machines for many hours for many days, until I was able to do my own little acrobatic forms with ease. So how come I lost my skills so suddenly?
But the truth lies (beautiful combination of words) in the fact that now I care more about sound than ever before. The resolution of listening has risen. Now it is obvious which sound needs what shape, and where is the place of that shape. And when the machine of a song is started, the load of real time doing things rises higher than it has ever been before.
And I must tell you, Mr Fajt was Right! Playing with Yr allows me to go places I could not go alone. But now, I just take his etheric musical hand and we go.  A dog with only left legs together with only right legged dog can make a new creature and run better than before. Especially when Miss Blackmary lends us her wings. (She has no legs)

It is in very short, this school for Druyds,  just the surface. I can learn about every aspect of earth life in this school. Very nice school it is. I get no grades…;-)

This was a busy, beautiful, enthusiastic month. Du and Druyd decided to make some Christmas cards this year.  And I can proudly present them to you here and now with huge smile over our faces. I invite you for some enjoyment:

I can tell you some secrets about it. This is how it happened. Du one evening discovered the first sentence that has been flying freely and yet untouched in the air of the studio, and with the BIGGEST smile he told us all: “Rinkel Finkel TinkelG Tondo, how would you like a glass of Mondo?”

Then, within a few days, the rest just poured out of him. And the new task was born – to search for music. This was Druyd’s first “film music assignment”! Yr was absolutely fantastic. He would sit on the FAT BOY sofa in the studio with the text in his hands and mysteriously create musical plot out of it.

At the same time Du and I started working on the plasticine! What better job would you ever want as an adult? We spent 10-ish days or so with our hands inside of this strange mass producing uncountable worms J And then with the help of some digital magic it all sat in place. Now it’s here so you can lean against its energy and rest. If you like it, we are happy.

I would like to tell you how I ended up in the best school I was ever in. At first, that definitely didn’t look like a didgeridoo school. There were no obvious road signs for this school that I remember. But the road was nor too long, nor too difficult, obviously, as I am where I am.

The first thing I remember is that I wanted to be a chimney sweep. But somehow I ended up finishing university of mathematics. I prolonged that experience for a little bit, by going for PhD which I abruptly left in the middle, for there was a path far more intriguing to follow. So I became professional didgeridoo player. It was not such a big surprise at that point because I have been very enthusiastic about didgeridoos for a long time, I only never realized the possibility for myself being employed that way.

I remember one piece of advice which helped me, and it was so charmingly said, that I have to mention it here. It was several years ago. At that time I have already been practicing didgeridoo quite much (about 5 hours daily), but I was still not able to live exclusively by playing. It was one of the visit to Ondrej Smeykal in Prague where I met a famous drummer Ondrej was working with. Pavel Fajt. It was one fantastic evening in a fabulous bar, when Mr Fajt told me his historical sentences in his most charming English with hard Czech accent.
“Dudo if you want to become a professional didgeridoo player, you have to do three things;
First. Website.
Second. Solo concerts.
Third. Playing with good musicians.
But first!!! Website.”
Amazingly, I made my website and became a “pro”. I continued to follow this advice and it proved to be wonderful on many occassions.
So I kept going my path and growing as a player, recieving all the education that I needed from my surrounding. The tubes in the first place. And good good musicians I played with. I learned a lot from and extraordinary percussionist Kameni, with who I had privilege to play in a band called Kik’dbit. And I learned, and keep learning extremely lot from piano player and composer Marko Ritosha…

But this year everything has changed… (to be continued)

I feel it
dripping from the ceiling
the blood of the universe
I am in my room
world is the room
doors opened
I feel it
the blood of the universe
I open my eyes
I am alone
I play
I close my eyes
the blood of the universe
it is a privilege
to play the notes
the body of the universe
so perfect
like circles
like plains
so still
flows through
the blood of the universe
it is such a privilege to play the notes
to touch with invisible finger
the body of the universe
the finger in the ear touches deep
invisible finger
because deeply deep
there is an abyss too steep
to fall
in
in which everything just is
the heart of the universe
beats uncountable beats
notes uncolorable notes
but my notes are simple
my D is green
and my A is red
my F is yellow
and 7/8 is turquoise-green.
it is so simple to be
no need to go
just stay
and flow
with blood of the universe

Many vary times and very many times also, I’ve been asked what kind of music do I play. Didgeridoo music? This question of category was one of the hardest ones. I do not know what kind of instrument I play. Is 10 meter didgeridoo still a didgeridoo? It looks like one, but so does contrabass and violin look alike. And this is the material world,  the “music question”  in etherical realm is just catapulted eons of think years away… If there were only my themes, they would discard me… I play  about rotten rooms of falling thoughts, about dream capsuled of giant and dwarf, about a raven crossing realities…And those are only ideas,t he “what”, “how”defines your genre much more if I got that right…
Many connect “didgeridoo” to world music… well it is obvious why… but it is not really true for so many didgeridoo  players… We have no real connection to that term instead of instrument and to mix terms like that would lead us to contradiction in terms…
What is left of genres if you want to be more sincere is “acoustic” -ok, but than you can just say you play “music”. Maybe you halved the category, but still, this is just pointing out the obvious. It’s like calling “unplugged” every album that you make.
I have to remember what’s written in my profile. “Minimalist” I think. Yes, I have one tube, that must be minimalistic. It makes sense, but for somebody who did not hear this music, and heard of other minimalists, might be a bit misleading…
We are left with experimental. I like that one, it is like saying you do experiments in the high tower of your castle. Green flames of explosions coming out your windows when you play. Experiments are not always successful, so is not your music….
And if I am correct, we have the category “other”. I love that one. I play other music. Other than what you think. Other than what is. Just other. If you come to my concert I will just play something other than that.
But recently I had a nice drop in head that solves the situation.
The name in the drop said ALTER ETHNO.
But what is alter ethno!? Here is my try to describe it how I feel it, for I am far from giving any definitions.
Alter ethno is what ethno would sound like if people were different. In history. If they did not cling to their love, misery, war.. misery of love in war… war in misery of love…love of misery in war (well… maybe not that one)…
I have naive look at the world so I imagine people in the “old days” being simpler than today: I imagine people playing what is now known as “ethno” to be peasants. So that is the realm in which we stay. Simple tools. Shovels. Ploughs.
But there is a possiblity that there was a peasant who was interested in the vastness of Space and space that is there. Who was interested in beauty as such and curious places it hides when one tries to capture it. In the green thing that makes trees have leaves and people have hair. Over their body. In unexpected order of things in disorder and the other way around.
I feel like that peasant trying to explore mysteries of the Space with a shovel.
So I would call the way of music I am in, alter ethno.