Vladiswar Nadishana | Penetration into Substance

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World: World Fusion Jazz: World Fusion Moods: Type: Instrumental
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Penetration into Substance

by Vladiswar Nadishana

The aim of this work is to find a common denominator for music sorcery in different traditions of the world. This CD is an experimental fusion of music folklore from Asia, Africa, Europe, Russia, Ancient Kuzhebar, experimental jazz and contemporary sample
Genre: World: World Fusion
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  Song Share Time Download
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1. Intro
1:07 $0.99
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2. Song of the Far Lands
5:59 $0.99
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3. Jae Koro-Nim
7:06 $0.99
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4. Kuo Ke (ancient Kuzhebar mantra)
2:12 $0.99
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5. Twisted Dance 7/16
3:38 $0.99
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6. Siberian Meditative Song
1:50 $0.99
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7. Indian Flood in Europe
4:30 $0.99
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8. Dance in a Curved Area
3:26 $0.99
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9. Searching the Trace
9:30 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Buy this CD for cheaper price from Kunaki:
http://kunaki.com/msales.asp?PublisherId=112833

Vladiswar Nadishana is a russian virtuoso multi-instrumentalist and composer from Siberia.
He plays on more than 50 instruments, including self-maded. His style is the modern world fusion or ethnic jazz.
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About this CD:
The aim of this work is to find a common denominator for music sorcery in different traditions of the world. This CD is an experimental fusion of music folklore from Asia, Africa, Europe, Russia, Ancient Kuzhebar, experimental jazz and contemporary sampler surgery. The recording method for this album was overdubbing.

Vladiswar Nadishana plays on: mandola, dzuddahord, kalyuka, bansuri, zhaleyka, overtone flute, khomus, ac. guitar, fretless bass, voice, various ethnic flutes and percussion, computer.

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In 1990 along with studying at the Cinema Engineers Institute in Sankt-Petersburg he began his self-education in playing guitar. Then he mastered other instruments like fretless bass guitar, sitar, mandola, chanzy, jew's harp, ethnopercussion (darabuka, djembe, kalangu, udu, frame drums); winds (bansuri, quena, kalyuka, zhaleyka, gayda). Besides he has created some experimental musical instruments: dzuddahord, pruzhingum, plastrimbaphon, rablorrum, ghostcatcher, pin-sansa, spring-pivot-gamelan, banbang (preparated beer- and coffee-tins) etc.

In 1991 he founded his first group «Soulbuilding Society" together with Lavrenty Mganga, then he played in «Ensemble Ri» with Lavrenty and Youl(1996). He also launched two other projects with Youl: «Phonic Duet»(1994) and «The Fourth Race» (2001). 2000 - was the foundation year of a trio «Russian-Tuvinian Karma Knot» with a throat singer from Tuva, Ayas Holazhyk. Vladiswar also plays in the group «Capercaillies at the Treshold of Eternity». In Berlin he works with famous ethno DJ Genetic Drugs and with Ramesh Weeratunga, a musician from Sri Lanka . All these groups and artists create music based on an experimental synthesis of musical traditions from all over the world. (ethnojazz, trance-ethno fusion, new world music etc.)

Since 2000 Vladiswar lives in «Tibercul» the biggest ecovillage of the world. There he established «The Department of Sound Microsurgery» (DSM) . DSM is a creative research laboratory, tackling a wide variety of project: from mastering unknown ancient musical instruments to investigating the influence of modern sound electronics on the human energy structure.

The Department researches also how musical instruments influence the consciousness and inner organs of the human body (the project «Move Your Chakra!»).

One of the latest projects is the creation of an original energy-dancing system and composing the music for it.

V. Nadishana created some solo albums in his own studio recording with computer using a multi-track overdubbing method. Vladiswar possesses a big collection of musical instruments (more than 100)from different parts of the world. He is laureate of the international festivals «Ustuu-Huree», «The Sayan Ring» and «New Songs of the Old Lands», and he is also the founder of the ethnofestival «Free of Karma Zone».

Since 1998 V. Nadishana engages active research in regeneration the technologies of alternative layers of reality creation, as it exists in aboriginal culture of Ancient Kuzhebar. The examples of this technologies are music, dance, visual art, motional practices , psychosomatic performances, special practices of mental and emotional energy transformation etc. Some of it introduced on this site (this site, of cource, one of this technologies). This research is strictly practical - each researching technology practicing like a lifestyle.

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Reviews


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Cameron Blades

It is almost hard to believe that one person is playing all the music as well as
Vladiswar Nadishana is Siberian (by way of Berlin) multi-instrumentalist, composer, recording artist, web producer, video artist and dancer. His latest musical offering, "Penetration of Substance", is rich in exotic textures and moods swings. First off, Nadishana performs on all the instruments himself: From all things strings, (mandola, acoustic & electric guitars & fretless bass) to assorted ethnic winds (bansuri, kena, kalyuka & gayda) and a total treasure trove of percussion (darabuka, djembe, kalangu & frame drum).

Nadishana's aim with the music on this recording is "to find a common denominator for music sorcery in different traditions of the world." This goal seems pretty-well achieved. The mixing of different traditional instruments never appears to over-shadow the strong melodies of the compositions themselves. In the freedom of the performances (especially the percussion) the structure doesn't stray too far and this serves the music well. It is almost hard to believe that one person is playing all the music as well as the various voices (from Touvan throat-singing to child-like "La La's") as they are all performed with equal dexterity. Nadishana also clearly uses the studio as a tool. The sound quality is excellent and before you picture Nadishana living in a cave deep in the Siberian woods the production will let you know other-wise as he uses various computer techniques to help create the soundscapes.

- Cameron Blades -
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World Music Central

One of the most pleasant discoveries of 2006
One of the most pleasant discoveries of 2006, thanks to social networking site Myspace, is Berlin-based Russian multi-instrumentalist Vladiswar Nadishana. He has released several self-produced CDs on his own label.
Penetration into Substance is a solo effort by Vladiswar Nadishana. Using primarily acoustic instruments and a computer, Nadishana overdubs layers of vocals and instruments, achieving an acoustic ensemble sound, with wind and stringed instruments accompanied by frame drums and other percussion instruments. The main influences are Russian, Siberian, Tuvan and Indian.
Read more...

World Music Central

One of the most pleasant discoveries of 2006
One of the most pleasant discoveries of 2006, thanks to social networking site Myspace, is Berlin-based Russian multi-instrumentalist Vladiswar Nadishana. He has released several self-produced CDs on his own label.
Penetration into Substance is a solo effort by Vladiswar Nadishana. Using primarily acoustic instruments and a computer, Nadishana overdubs layers of vocals and instruments, achieving an acoustic ensemble sound, with wind and stringed instruments accompanied by frame drums and other percussion instruments. The main influences are Russian, Siberian, Tuvan and Indian.
Read more...

Billy Sheppard

Go Deeper, Awaken Refreshed
"Without a body, how can there be suffering?"
~ A Buddhist Axiom

"Ancient Kuzhebar is an alternative reality which a small network of people are building up with their own lives."
~ Vladiswar Nadishana (From an email to Billy's Bunker.)

Close your eyes when you listen to Vladiswar Nadishana and you will find the alternative reality of Kuzhebar. Time is as insubstantial as incense there and substance no barrier to the heart. In this "Penetration Into Substance," he invokes in the title of this album as a journey to the inside of the outside where intention and action are like hippies playing Had-E-Sac at a picnic for souls scheduled for anywhere all at once.

The Nadishana experience includes a world beneath the surface of music from India, Siberia, Ireland, Africa and all points anywhere played by Mr. V on 200 instruments at least with winds, strings and skins included and a higher ground technical recording technique dubbed "sound microsurgery." There's plenty of craft a skill if that's what you are looking for. While all music works to break through to the heart, the best among musicians are capable of saying, "How in. Let's go for a ride." As a listener in Ohio, I'm taking a trip through unfamiliar territory with Mr. V. The surface reality of what I've heard in the New Age is just a signpost up ahead. Listen deeper without distraction and this is a soulful Twilight Zone. As Rod Serling put it, I am "traveling through another dimension, a dimension not only of sight and sound but of mind. A journey into a wondrous land of imagination."

I believe Vladiswar has taken the gauntlet thrown down by those who purport to heal with sounds borrowed politely from other cultures, assembled the worthy among the best of musicians, and taken it where it promised it could take you but lacked the fuel. If you haven't jumped this review to listen at this point, imagine Bela Fleck, Ravi Shankar, Djivan Gasparian, Enigma, Kamazi Washington, Hamza El Din, John Bergamo, and Ian Anderson recording some music for their own enjoyment after a month-long retreat with a Brian Eno in the recording booth. You might not be able to dance to the music they create, but in a relaxed state your heart would find the way. Stuff like that is a spiritual journey. That is a journey to Kuzhebar.

I normally do a song-by-song review, but this is a suite of songs in unfamiliar territory with instruments I can't pronounce. Every review I write is a verbal trick to get the reader to jump to the music. Vladiswar has provided images better and more appropriate than I can create, and music I'd rather feel than describe. Go there and get past the feeling you have come to the New Age. Listen deeper. There are layers to this onion with something to say down the microscopic cornel. You will return to the illusion of reality refreshed. The snapping fingers will be your own.
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Gerald Van Waes


Nadishana's second release starts with seemingly a few traditionals, ("Intro" & "Song of the Far Lands") as being more recognisably based upon real traditions, in a style recognisable for especially those countries that have that kind of folk music that was basically fusion and a crossover bridge between cultures (like in Turkey,..). The notes describe the music is an experimental fusion of Asian, African, European, Russian, Ancient Kuzhebar traditions mixed with experimental jazz and contemporary sampler surgery. “The recording method for this album was overdubbing”. Instruments used were mandola, dzuddahord, kalyuka, bansuri, zhaleyka, overtone flute, khomus, acoustic guitar, fretless bass, voice, various ethnic flutes and percussion, computer. The dzuddahord holds the middle between a sitar guitar, guitar and a sitar-like sound. There are also vocal experiments like on “Kuo Ke (an ancient Kuzhebar mantra)” combined with one computer deformed voice and a semi-acoustic electronic sound that fits and combines in overtone colour perfectly, highly original! (Kuzhebar refers to "a vanished Siberian tribe" to which Vladiswar often refers, with artwork, musical elements, dance and deeper ideas of movements, of which I don't know how much is scientific, fantasy or some interesting shadow image of an older memory transferred from a trance consciousness of information, with roots to at least real associations with the areas around Siberia, and how much is a great creative idea and how much goes even much deeper and is more harmonizing than that it only brings incomplete dream elements into a pleasant bridging to a complete conscious form in the area of true art on the edge of shamanic lead of deeper blending)°°. "Indian flood in Europe" starts with flamenco guitar, combined with and flute with tabla, and some multiple percussion colouring and moody bass. "Dance in a curved area" is a great mix of a folkdance played with the effect and talent of a jazz group.
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