Ceremony Alapastel

• Lukáš Bulko (b. 1986):
• 1 Bulko: Transmission 05:56
• 2 Bulko: New World Healing Centre 13:45
• 3 Bulko: In the Service of Life 12:24
• 4 Bulko: Mass to Free Us 05:38
• 5 Bulko: From Untold Pains 12:26
• 6 Bulko: Releaseness 08:23
• 7 Bulko: Flight Over Utopia 10:41
• 8 Bulko: Goodnight, Valley of the Roses 04:17
• Total Runtime 01:13:30

Info for Ceremony

Alapastel 'Ceremony' is the third release in Lost Tribe Sound’s 2021 album series, Salt and Gravity. The series will include albums from Alder & Ash, Tony Dupé, ’t Geruis, Federico Mosconi, Sanr, Alapastel, and mastroKristo. "Ceremony" is the second album from Slovakian composer Lukáš Bulko, who records under the name Alapastel. Bulko’s 2018 debut album ‘Hidden for the Eyes’ for James Murray’s Slowcraft was met with praise from critics and fans alike. Much like ‘Hidden for the Eyes’, the new album ‘Ceremony’ provides no easy comparisons.

Lost Tribe Sound was introduced to Alapastel by composer William Ryan Fritch in early 2021. Immediately upon listening to the demo it became clear that ‘Ceremony’ was unlike any album we’d heard before. It’s an album built from mammoth sound objects, carved from organic sources, that feel so palpable that one could reach out and touch them. Often spanning ten + minutes, these expansive compositions are crafted with such intent and intricate detail that they never overstay their welcome.

There’s a purity and a gentleness to Bulko’s musical voice that speaks of connection, mending, of building a better existence. Subjects that are often swallowed up by the noise, the cruelty, and lack of compassion found in modern society… written off as idealistic or naive. Bulko describes the intention of ‘Ceremony’ is to facilitate a transformative experience. Much of ‘Ceremony’ was written to highlight his interest in Indigenous Peoples ability to survive using sustainable methods passed down over thousands of years, making use of techniques that helped to conserve biodiversity for future generations. Bulko’s work with Fairtrade International has nurtured this connection and belief that adopting these ancient practices is the key to continued life on this planet.

‘Ceremony’ utilizes a wide array of instrumentation commonly used in ceremonies and rituals. Many of them find their origins in a variety of Indigenous cultures from around the globe. The compositions deliberately work with an eclectic tonal palette and an intuitive sense of timing to guide the listener into unfamiliar territory. The fluidity and ease at which Bulko weaves in new voices and phrasing into the musical landscape is perhaps the album’s most jaw-dropping achievement. Bulko forms strangely compelling narratives between instruments that one would rarely consider hearing together. One example of this comes during ‘In the Service of Life,’ which introduces a slow churning didgeridoo punctuated by a wildly toned jaw harp. On paper this combination seems questionable, but thanks to Bulko’s meticulous handling of each and every element within ‘Ceremony,' it becomes one of most intriguing moments on the album.

Only a small handful of modern composition, electroacoustic, and neoclassical works come to mind when attempting to describe the musical language spoken by Alapastel. Steven Leggett’s ‘Bathhouse’ touches upon a similar ebb and flow and patient musicality. French music maker Toàn weaves comparable sonic tapestries seemingly out of thin air, and shares a kinship for worldly instrumentation and low-end mechanics. Lastly Brazilian artist Babe, Terror, whose strange and enduring album, ’Horizogon (2020),’ makes use of bold slabs of sound and a freedom in movement that feels highly akin to ‘Ceremony.’

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