www.soniccuriosity.com/sc445.htm

This CD from 2009 offers 73 minutes of textural electronic ambience.

This music is Pound's sonic interpretation of an enlightenment practice called the Fourth Way, based on the teachings of Greek and Russian philosophers G. Gurdgieff and P.D. Ouspensky.

The electronics are a blend of dark textures and airy tonalities, both serving to maintain a balanced auralscape, a neutral psychic realm in which the listener can luxuriate and free themselves from the rigors of physical distraction.

Keyboards provide scarce guidance here. The electronics generally manifest themselves as waves that cascade to and fro or flourish into expansive eternity. In a few instances a melodic presence creeps in and even the beats adopt a gentle rhythmic definition. Piano even makes an appearance at one point, lending a classical air to the drifting psychic depths.

While periodically exhibiting melodic hints, the majority of this music consists of harmonic flows that surge and ebb. This oscillation is tempered by flutes, ethnic woodwinds, and strummed strings which bestow touches of humanity to the ambience. The title track (at 29 minutes long) manages to utilize all of these elements to goad the listener into a vivid dreamstate peppered with stages of engaging sonic stimulation.

Tribal percussives also contribute to the embellishment, providing unrhythmic punctuation that often approximates drops of water falling across the cerebellum. On a few occasions, though, the beats muster themselves into softly compelling rhythmics that slither through the mix like glowing serpents, spreading benevolent agitation amid the temperate electronic flow.

These compositions are designed to entice the listener into a meditative mood, then goad them into alternate states of consciousness. Many of the passages display a distinct darkness, but it is a murkiness devoid of menace, intent instead on instilling a subliminal awe through the application of soothing grinding sounds. Their pulsating presence is seasoned by auxiliary aspects (flutes, beats, and shamanistic chants) that serve to link the listener's detached spirit with their organic heritage.

Matt Howarth

Dan Pound had quite the prolific 2009, The Fourth Way being his third release during the year. Though the newness hasn’t worn off this one yet, I’m inclined to say it is my favorite of the three. Pound’s unique style of ambient shamanic space music really shines through. “Way of the Fakir” is open and spacious, but with a subtle sequencer foundation lying underneath. Going deeper is “Way of the Yogi” with its rumbling reverberating echoes and gentle tribal touch. A cool, light drum loop forms the underpinning of “Way of the Monk,” with shiny metallic synth sounds over the top. Synths have an organic warmth throughout, perhaps best exemplified here. Occasional wordless vocals appear, blended into the rest of the instruments well, including some light, sparse piano playing that adds to the atmosphere. The title track runs nearly half an hour, alternating between space music and more tribal sounds, and even a bit of glitchy electronic rhythm. This one has several different themes weaves skillfully together into a unified whole. “Sly Man’s Way” ends the disc with a little desert night music, including guitars with an Old West flavor that remind me of Steve Roach and Roger King’s collaboration Dust to Dust. It totally works as a unique way to finish of this excellent album.