Not familiar with the word Chora? Here’s what Wikipedia says about it:

Khôra (also chora; Ancient Greek: χώρα) was the territory of the Ancient Greek polis outside the city proper. The term has been used in philosophy by Plato to designate a receptacle (as a “third kind” [triton genos]; Timaeus 48e4), a space, a material substratum, or an interval. In Plato’s account, khôra is neither being nor nonbeing but an interval between in which the “forms” were originally held; it “gives space” and has maternal overtones (a womb, matrix).

That’s why I feel Chora is an appropriate name for my latest long-playing, ambient atmosphere (now available on Bandcamp).

I like thinking of this piece (as well as Lacuna and Suspensio) as musical DNA. It represents a kind of broad, raw material that could be differentiated to produce more familiar kinds of composition. A kind of proto-music where we can witness sonic textures crossing a line to become tonal and aesthetically familiar.

For each of these highly ambient pieces I started with a recorded loop of guitar harmonics which I then slowed down either 100 or 200%. At that speed, or scale, different harmonic features appear that have their own rhythmic and musical identity. So it’s a little like looking at a musical chord through a microscope.

Because of this magnified scale, the first impression of these pieces is that they’re extremely simple. But it’s the consistent simplicity and content that makes closer examination possible, which can then reveal unexpected complexity.

For me, the aggregate effect is an exaggerated sense of both stillness and motion; a chord frozen in time that still has enough space in it to accommodate relationships between tones, and hints at the beginnings of rhythm.

I hope you enjoy it!