In the music of this album, the composer imagined a sounding musical stratigraphy, with partly eroded fossil sounds of instrumental music long dead, among which are remnants of human made harmonies, encased in a matrix of eroded noise. In the course of the work, one travels as if through geological musical time, gradually meeting more and more less familiar memories, artifacts, forms and substances, preserved and left behind.

The 3 tracks follow a path of reverse deconstruction and unraveling, going back to the origins of this composition, and presenting earlier stages of creation as later tracks progressively. In this way the listener is not only able to hear details that might be hard to hear in the tutti version (track 1), but also the tracks become more introvert, while striving to keep their emotional impact. Gradually the clear and concrete music of We will never forgive you merges into the slightly more abstract The song without words, which is in fact a minus-two version, to be followed by the even more abstract Planet of the Ants, connecting to the sound universe of van Dillen’s earlier Dronescapes. The title of the last track explicitly refers to Dronescape 5 – Myrmecology, this time as a planet of the ants, which may be the very thing we are currently creating and heading towards. As mammals succeeded the dinosaurs, now ants may have a good chance to succeed the mammals, once extinct. If that happens, may they thrive and develop collective intelligence instead!

During the development of this album, Tournier remarked it almost felt like a trio sonata for 2 flutes and electronics, pointing at the closely knit counterpoint in sounds and pitches resulting. In fact, the work combines a classical sense of form, at the same time rigid and clear, as well as open and flexible, with the improvisatory element added. Classical then has to be interpreted in both the European and Indian sense, and this form bridges formal principles shared and developed along different styles across two continents. Existing forms were not literally used, forms such as the classical European song-form, rondo, or sonata from types with their clearly outlined sections and repetitions, depending on functional harmony to work, nor is there literal use of the classical Indian forms, depending on the gradual build-up in speed, register, and intensity, all to a single drone tonic. The Dronescape Oneirology is a far more adventurous and moving drone, in sound, dynamics, pitch content and form, and is not treated as background or accompaniment, but interacted with to create a larger story.

The work Jñāna – Rigpa is exploring the boundaries of autonomous drone composition, both in the sense of its duration (it has the longest single-track duration streaming platforms allow today), as in the sense of its minimalism of musical and technical means used. While creating an atmosphere of almost trance and meditation, it also serves as a means, a tool, for deep and inner reflection. Reflection on one’s own hearing is intended explicitly here: a music that serves to listen to one’s own hearing.