“Foot of the Crow”, released over 10 years after his fascinating debut “Transmuting Currents”, is a work of organic-rooted, electro-acoustic, cinematic and dark-tribal ambient assembled of modular analogue drones, nocturnally sourced field recordings, tribal drum machines, didgeridoo and processed vocals along the use of reverb heavy electronic processing.
A lot of John Vorus approach to working with sound is rooted in age old tribal traditions of using the sound as a shamanic expeditionary tool. For this release he was compelled by the Saami Drum used by the Noaidi (shamen or medicine people) of the Saami people of Norway. Of particular interest was the Saami spiritual concept of having a cooperative relationship with natural forces. For the composer, working with this relationship on his own and then creating a sonic navigational map for journeying into other worlds (indicated in the various art work that adorns Saami drums) was a foundational inspiration to creating this body of music.
This was also the reason to present the 72-minute result as a continuous aural journey. Moreover, the order and structure of the tracks is designed to facilitate shamanic travel, delivering the intrepid listener safely to the neither regions and back again. Creating the non-stop flow of music makes a circular river of sound that is more conducive to this kind of work in general. Ambient master Steve Roach really perfected this kind of album structure and John found it to be quite useful in his own work. Although actually no Saami drums were used on “Foot of the Crow” (and one isn’t required to think of one during playback) you can consider the release itself as being a Saami drum or filling the same role.
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