Music readily looks at its own reflection—consciously or not— in paintings, sculptures, works of literature… Topics, even when  they appear within the universe of sound, are mediated through  words. Artistic fabric, meanwhile, seems an excellent matrix  for contemporary musical sensibility and its appropriate formal  embodiments. Let us try, then: 

Warp: “Modal lyricism, a distinct sadness and gloomy nostalgia”  is how Krzysztof Droba, a true authority on Lithuanian musical  minimalism, described its particular character. 

Weft: “A combination of textile patterns and Indian music”   is how Egidija Medekšaitė describes her own works. Such a minimalist, two-dimensional definition of the Lithuanian  composer’s output conceals what matters most within it.  

Depth. The infinity of the microtonal structure of musical sound.  The persistence of the immortal Atman. A bottomless cultural  memory reaching back to the vast plains of prehistoric Anatolia.  In the end, both the composer and the listeners of this music  meditate on a sonic matter that itself takes on a form known since  time immemorial, and yet, at once, wonderfully unpredictable. 

Megh Malhar is a classical Hindustani raga evoking approaching  rain and storm. Dhani is a raga based on the pentatonic scale.  Considered joyful and romantic, it is often used in contemporary  popular music.