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artwork by Ilona Kowalschek

 
     
 

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The idea behind his newest CD, Om Meditation, is to act as an aid for meditative and therapeutical exercises. It is an invitation to relax and harmonize with one's surroundings. Through minimalistic modulations the sound changes gradually. The amount of tones has been consciously reduced in order to open up the listener's world for personal experiences. (Thus this production focuses on supporting meditations or spiritual exercises, rather than being a distraction).

'Om', which is an exact overtone of the tropical earth year (earth's orbit around the sun), is the root tone of a large part of classical Indian music. It is a C-sharp with -31.38 cent and has a frequency of 136.10 Hertz. The CD running time of 62 minutes also coincides with the cycle of many meditations.

B. Ashra has been a successful and well-known tone sculptor and sound alchemist for many years. Along with his Ambient Solo Project (called B. Ashra) he works with many groups including Brain Entertainment Laboratory, Morphon, Toshra and Psychotikum. He uses the name Robert Templa for his solo techno project. Apart from his many varied music projects he does professional mastering and runs the label Klangwirkstoff Records with his friend Tom Woelke.

mastered by B. Olke (GL Audio) Berlin

artwork/ layout by Ilona Kowalschek

Klangwirkstoff Records 2009   KW004   LC: 16011

 
     
 
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Tracklist:

 
     
  B. Ashra - Om Meditation - 62:00 min  
  Om | Tropical Year | C sharp | 136,10 Hz | 127,60 bpm | -31,38 cent  
     
 
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Reviews:

 
  Psybient.net
 
     
     
 

 

One hour of music based on "Om", this time by B. Ashra alone. This track really only consists of sound, of sphere, of ambient, of rising and falling tones. Nothing interrupts the meditation here, nothing unexpected penetrates the consciousness as soon as you let yourself go, there are no surprises, no unpleasant ones, and that is the pleasant thing about it. The listener is thrown back on himself, he is free in his association and in what he may move in his mind. Which may also be nothing at all.

Only halfway through, a kind of didgeridoo, faked on voice samples, temporarily joins the atmosphere, but even that does not penetrate the track so abruptly or demanding that one is disturbed by it. Likewise, Olke integrates the following minor changes as carefully as possible. And yet, as always, one has added value to this album even in a semi or even completely conscious state.

Matthias von Bosenick for Kraut Nick Magazin 02-2021(only in german)

 

 
     
 
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