Yuval Ron and Uyanga Bold Conjure up the Sacred Spiral
The use of space in music is perhaps one of the least appreciated, most effectual elements in composition, songwriting and, to a certain extent, even song structure.
To that end, the recordings populating the album Sacred Spiral by Yuval Ron featuring Uyanga Bold utilizes this sonic dimension in a way that’s certainly unusual, if not outright effectual. Almost all the tunes are characterized by synths that form the chief sound of the track, right? But get this, for the most part those synths are of just one note and, you probably guessed it, that note is as interminable as the tunes themselves seem to be.
Thus, the space on these numbers seems infinite, unfolding moment after moment until one easily loses track of where they started or where they’ve actually been transported one. And, within that space, the void of those singular notes—which have the odd propensity for aurally coruscating or perhaps just sounding like they’re continually getting louder when they’re really not—there’s a party of guests breezing through, but none more prominent than Bold on the vocals.
Her style ranges the gamut from deep, underbelly, almost grunting tones to the most feathery of high notes. She primarily sings bereft of words, waiting close to halfway through the album to summon more lyrics than “yeah” (the ubiquitous “oohs” that are seemingly in every vocalist’s repertoire aren’t quite words).
Moreover, when she does drop the lyrics, it’s not always in English. It’s difficult to discern just what language she’s expressing herself in on “Water of Forgiveness”; it could simply be the primal language of the earth itself. But she delivers her best vocal performance on that cut, mainly in a soprano that sounds delicate and feminine. It doesn’t hurt that there’s a far eastern sounding string instrument (very close to a sitar if that’s not what it is) and some jingly sort of percussion that could easily be part of the synths on this one.
This atypical structuring of instruments and vocalists makes for some fun interplay between the musicians. On “Voice of Freedom” the vocalist is involved with a protracted call and response with the horn player, each conveying his or her sentiments in a similar pitch or tone before they actually coalesce and produce notes simultaneously.
If nothing else this album keeps listeners open minded, which is a major accomplishment in itself.