Michael Stearns & Ron Sunsinger - Sorcerer (2000)

Michael Stearns & Ron Sunsinger - Singing Stones (1994)
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Ambient | Spotted Peccary Music SPM-D1101 | RAR 3% Rec. | Time: 53:51 | FileSonic, FileServe

After six years without any new recordings, pioneering ambient artist Michael Stearns has unleashed a torrent of music with three releases on his own Earth Turtle label and this CD with Ron Sunsinger on Spotted Peccary. In a way, Sorcerer is an extension of their 1994 album, Singing Stones, but Sorcerer is an even more abstract and experimental work. Inspired by the spiritual writings of Carlos Castaneda, Stearns and Sunsinger create a dark and perilous world. On an album that's more sound design than music, they mix electric and acoustic sounds from prepared guitar to bowed metal with environmental recordings. John Diliberto, Amazon





After six years without any new recordings, pioneering ambient artist Michael Stearns has unleashed a torrent of music with three releases on his own Earth Turtle label and this CD with Ron Sunsinger on Spotted Peccary. In a way, Sorcerer is an extension of their 1994 album, Singing Stones, but Sorcerer is an even more abstract and experimental work. Inspired by the spiritual writings of Carlos Castaneda, Stearns and Sunsinger create a dark and perilous world. On an album that's more sound design than music, they mix electric and acoustic sounds from prepared guitar to bowed metal with environmental recordings. Electronically processed, reversed, and otherwise distorted, they emerge with a surrealism that makes Dali seem like a hardcore realist painter. There are no rhythms to grab onto and no melodies to speak of until the very last track, when Peruvian shaman Don Augustine Rivas sings an Ayahuasca Icarro song. Until that respite, it's a tableau of demonic groans, shuddering metal on metal, and turbulent free falls, all orchestrated into a shifting, enveloping, and precarious soundscape. John Diliberto, Amazon


dronecaster, Amazon

Incredible atmospheres, one of Stearns' best ever

The most significant recording in ambient/space music since Steve Roach's 1996 masterpiece "The Magnificent Void", the Stearns/Sunsinger collaboration "Sorcerer" also gets my vote as the best recording of its kind of 2000. What we have here is not only a sonic tribute to the late Hispanic anthropologist Carlos Castenada, but also what is perhaps the most ingenious recording of ambient tribal experimentalism yet produced. "Sorcerer" is a follow-up to their 1994 work "Singing Stones" (on Fathom Records) and while in spirit it seems to be a large-scale offshoot of Stearns' contribution to the "Storm of Drones" compilation called "Reky into Dark Territory", it transcends that track with superior thematic development and sheer psychological and emotional depth.

Perhaps part of the reason why both artists waited so long to record this music (they had read Casteneda's books during the early 1970s) may be due to waiting for the right developments in sound recording technology to come about. If this is in fact the case (as I believe) then it was one of the wisest decisions for both artists, but for Stearns in particular, "Sorcerer" contains some of the most significant music of his entire career, the sheer power of which is only matched by "Lyra", "Chronos" and "Encounter".

Utilizing everything from synths, prepared electric guitar, and bowed metal instruments, the disc effortlessly slides from near quiet contemplation ("Flyers: The Landing of Inorganic Life")to an unsettling form of ecstasy ("Portal") to a grating soundscape that resembles some of the early efforts of guitarist Jim O'Rourke ("Journey to the Underworld") to unearthly majesty ("The Realm of Magical Beings").

An uncharacteristic yet inestimable addition to Stearns' list of recordings, "Sorcerer" will inevitably go down as one of his most inspired and important efforts ever.




Jason Ankeny, AllMusic

Composer/sound sculptor Michael Stearns was born and raised in Tucson, AZ, taking up classical guitar as a teen; in time he moved on to rock and jazz, and by the age of 16 was regularly backing top pop acts including the Lovin' Spoonful and Paul Revere & the Raiders. While a student at the University of the Pacific he turned to electronic music, completing his first musique concr¨¨te piece in 1968; four years later, Stearns returned to Tucson to open his own recording studio, subsequently producing a series of advertising jingles. In 1974, choreographer Emilie Conrad convinced him to move to Los Angeles to serve as the resident composer at her Continuum Studio; in the process of creating spontaneous live accompaniment for the dance group's groundbreaking explorations of human movement, Stearns developed a unique sound combining synthesizers and environmental samples, over time incorporating increasingly exotic instrumentation as well.

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