My composition Starmilk on Alessandra Celletti’s new album “Above The Sky” is part of a commitment I made.
Since I was an even younger musician I have always felt myself to have made a vow to anchor the music of outer space into physical form in my work. Not exclusively, but often. The whole idea is so attractive to me. We attune to the stars, and are lifted up in every sense by them, in feeling, in imagination and in their beauty.
Lawrence Ball in concert in the French alps
Much of my early composition was for guitar, electronics and tape, with titles like Aurora Borealis and Electric Storm, there was this deep vow inside me to create music with the evocation of a sense of outer space. It happened without any formality that I can remember, which is itself intriguing. Partly inspired by the Pink Floyd, also by hearing Stockhausen’s Kontakte in a school music class (at Dulwich College), which made me realize that music is not at root crotchets and quavers but something fashioned from the ceremonial, ritual act itself, purely by intention or agreement. I never followed or venerated Stockhausen, but this realization I can thank him for gladly.
I heard See Emily Play by the Pink Floyd in 1967. It literally took the top of my head off. (Well, energetically). Their aesthetic in the use of intricate spacious sounds, and their imaginative combination, was committed and highly charged with a fresh magic I had not previously heard. The early Floyd had a thematic preoccupation with outer space atmosphere, and this excited me hugely. They used Binson echo devices, this was like a tape echo but with a revolving magnetic drum instead of a tape head, so the echoes could be gradually slowed with falling pitch or speeded with rising pitch. The ensuing cascade of sliding sounds could be richly evocative and magical. This certainly aided my growing sense of the beautifully eerie aroma of deep outer space.
I am not a hugely well-known musician (I tell my students I am semi-famous ☺ ) but I feel I am as committed as anyone ever has been to experimentation towards great beauty, somewhat inspired by the artist Nicholas Roerich, who held a very high aim, and was very strong in that aim.
Alessandra Celletti in concert
In 2004-7 when Pete Townshend took an interest in my work, and helped me record a double album, I devoted one CD to 3 “Imaginary Galaxies”, these are what I call cosmic orchestral meditations, and again evoke journeys through awe-filled vistas of vast galaxy star-scapes. Galaxy 1 is dedicated to the late Syd Barrett of the early Pink Floyd. Even Pete found himself “white-lighting” whilst listening.
The singer/songwriter/musician Paul Chi has described my compositions as “like classical music, only with more space.” This space is something I share with Terry Riley’s music and playing, which has a warmth to it, and I feel that this warmth is also space, space to feel, space to receive the music, its not too intense, it approaches the heart with easy but fine grace, no obligation to absorb.