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The track, "Columbian Map" is derived from the written piece, "Phantom Pages of a Medieval Columbian Map" from the district.Columbia collection of experimental writing. The meaning of the title refers to Columbia, the goddess myth of precolonial America, the ubiquitous feminine divinity of the land itself as seen and heard through Western European eyes. The "Phantom Pages" open an understanding of the land that transcends European representation through the cartographic delusions of "discovery", colonization and settlement.

A narrative art sounding is embedded between guitar and shakuhachi music. The introductory guitar melodies on the track are resonant of Indian Sitar music, yet also merge into influences from West African blues and Middle Eastern Oud playing techniques. The shakuhachi, through its abject dissonance and airy ambience, bridges two instruments from opposite ends of the globe, that through harmony and chaos move the voice to speak, as middle ground, as the remoteness of truth between directional extremes. My approach to the guitar (a quintessential Western instrument) as the embodiment of non-Western sonic influence further melds with my approach to the shakuhachi without any classical training, thus playing it with a Western ear. And so, western instrument with an eastern ear, and eastern instrument with a western ear redirect the two-dimensional cartographic reality of discovery into the 4th dimension of time through sound as narrative, voice and, more, a pure medium of truth.

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from Evocations: district​.​Columbia, released June 18, 2013

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Rusty Kjarvik Brooklyn, New York

My ancestors are from the lands in and around what is now Norway, Poland, Germany and Greece. They lived above the Arctic Circle, spoke Yiddish, were Romaniote Greek, English settlers during the revolutionary war of America, and from Germany pioneered in 19th century Alberta, Canada where they also took Blackfoot names. They were buried in religious fame; and so I also go by Menachem ben Asser. ... more

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