| Dream Theory in Malaya | ||||
|---|---|---|---|---|
| Studio album by Jon Hassell | ||||
| Released | 1981 | |||
| Recorded | Grant Avenue Studio, Ontario, 1981 | |||
| Genre | Ambient, world music | |||
| Length | 36:25 | |||
| Label | EG, Caroline | |||
| Producer | Jon Hassell | |||
| Jon Hassell chronology | ||||
|
||||
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Allmusic | [1] |
Dream Theory in Malaya : Fourth World Volume Two is a World music album by Jon Hassell, released in 1981. It is the "sequel" to his collaboration with Brian Eno, Fourth World Vol. 1 : Possible Musics, which was released the previous year.
Contents |
Hassell got the idea for the album after reading a paper by anthropologist / adventurer-ethnologist Kilton Stewart about the Senoi, an aboriginal tribe Stewart first visited in 1935, who lived in the highlands of Malaya (as it was known before the present state of Malaysia was constructed).
The Senoi culture, he discovered, regarded dreams as an important part of life. Mornings were used by families to indulge in the custom of dream-telling, where, for instance, a "child's fearful dream of falling was praised as a gift to learn to fly the next night". Songs and dances learned in dreams were often taught to neighbouring tribes to foster good relations.
One of the tribes who lived nearby in the swamp regions, the Semelai, practiced the art of splashing water with the hands to form a rhythmic music. Hassell heard recordings of this on a BBC publication - a book (Primitive Peoples) which was accompanied by a vinyl record - and used it as "a thematic guide for the entire recording", especially the track "Malay", "the centerpiece of the record".
All tracks by Jon Hassell
(An early 80's EG cassette also included an extra track, "Ordinary Mind" (2:58), located between "Datu Bintung at Jelong" and "Malay".)
The album was recorded at Grant Avenue Studio, Hamilton, Ontario, Canada, with the engineering and production help of Bob and Daniel Lanois.
Hassell would experiment with "musical sketches" in the basement studio of Michael Brook's house in Toronto, who was helping him to coordinate the recording, and from there he'd commute to Grant Avenue and put things down on multitrack, along with Brian Eno who was also there. Eno's main input on the sessions was playing drums and bells on "Courage," "Dream Theory," and "These Times". These sessions also marked Hassel's first association with Lanois.
He spent a lot of time on an "invented exotic scale on top of a tambura-like drone consisting of a set of sine tones that I've tuned as a guide to keep me on the Indonesian-type tuning that nobody ever tried to play on a trumpet before". As in the previous album, Possible Musics, his trumpet is mixed and looped and stretched so that it never really sounds like a trumpet at all.
Track 1 features digital delay, which at the time was a relatively new studio process, and is composed of rhythmic loops, short trumpet blasts and sharp intonations. Tracks 2 and 3 share a raspy, treated, looped trumpet riff, with 3 employing waves of overdubs, bass and pottery drums. Track 4 is based on a background of gongs and drums over which a breathy, distorted trumpet drones and blasts. The longest track, 5, features the "splash" rhythms mentioned above, along with Raga-style percussion, gongs, the sounds of giggling children, and an over-riding lead trumpet. Track 6 is the most ambient of all being mostly chimes/gongs and birdsong, a year later it reappeared on Brian Eno's album Ambient 4/On Land, retitled "Shadow". The last track has a background of distorted trumpet waves and a gamelan-style beat.
| Country | Label | Cat. No. | Media | Release Date |
|---|---|---|---|---|
| US | Editions EG | EGM 114 | LP | 1981 |
| France | Editions EG | 2335 226 | LP | 1981 |
| US/UK | Editions EG | EG/EEGCD-13 | LP/CD | 1987 |
| US | Plan 9/Caroline | 1537 | CD | 1987 |
| US | Plan 9/Caroline | 1571 | CD | 1990 |
| US | Editions EG | 13 | CD | 1991 |
| US | EG | 13 | CD | 1999 |