It is the middle of summer and it is hot and humid and the thought of a refreshing dip in the pool sounds so appealing. As I float face down in the pool it is a wonderful feeling of freedom and weightlessness. Then the sun's rays bounce and dance off the disturbance of the water surface and reflect off the pool floor making you feel alive and still relaxed at the very same time. What an oxymoron. Yet these emotions of relaxation and stimulation parallels the philosophical and exuberant state that The Light Dance creates.
I cannot deny that I was initially pessimistic and impervious to what I was about to hear. The combination of the unusual artwork along with the references of the Idogo pole meditations initially brought me to the listening experience with a somewhat closed mind. Despite the heavy leanings on the meditative aspects this Eastern influenced music has a commercial awareness that is even delightful to these sometimes closed Western-influenced ears.
Buedi Siebert originates from Germany and has been active since the 1970s as composer, producer and a multi- instrumentalist. His website credits him with the ability to play up to 40 different instruments. Siebert is prominently known as a flute player with a unique soothing and smooth delivery. That reputation is not tarnished here though he concentrates on the use of bamboo flutes delivering a gentle style but never at the expense of being boring. Even more so is the presence of the large Chinese zither that creates a plucked string sound that is distinct, though never harsh, escalating the exotic deliverance. Former Narada recording artist Ralf Illenberger on guitar and Matthias Frey on piano ably assist him. The latter is heard most prominently on the title track "The Light Dance" which is probably the most commercially viable song on the album. When compared to the other pieces, it is almost out of place, but it still fits well enough not to be a distraction.
Speaking of pieces, this project is a jigsaw that relies on each segment to landscape a place of escape. Each sliver glides into one another without a break, keeping the listener centered and focused. Many of the musical themes are revisited to assist in keeping that focal point. (Those of you that prefer the meditative attributions here may find Real Music's latest project Namaste more inviting).
From a commercial point of view, this same compliment could also transform into a complaint as the reoccurring themes are played out despite the different titles. This is beneficial from a meditative point of view thus sustaining a center point. However, from the aspect of a pure listening experience, the cynical response of redundancy could be applicable. Fortunately, the musical themes are very involving and along with some rearrangements make the revisits more than pleasant deja vu.
The beauty of this endeavor is the chameleon ability to integrate both commercial and meditative influences without diluting the effect of either aspect. The end result is flowing ear candy with some meditative nutritional value added to the mix without it being forceful or overwrought.