-
Back In Time 2:070:00/2:07
-
Blues Hologram 4:120:00/4:12
-
0:00/4:08
-
Cherished 2:220:00/2:22
-
Through the Fog 2:170:00/2:17
-
Undercurrent 3:530:00/3:53
-
Glow 5:250:00/5:25
-
Tides of Time 4:130:00/4:13
Tune In
Composer/pianist Robert Bruce’s Psychedelic Minimalism solo piano program is definitely not your average piano concert or recital. Developed and fine-tuned over many years, the collection of mostly tonal minimalist pieces that form the content of this unique program quickly establish a rather otherworldly atmosphere in performance that ultimately has a noticeably uplifting and centering effect on listeners. Using only elegantly crafted musical ideas performed on acoustic piano, this program offers an often needed “time-out” from the rough edges of life and a safe space to recharge, regroup and gain some perspective.
There is little or nothing that is particularly entertaining, flashy or show-offy in this program, which can range from roughly 40-60 minutes in duration. This music runs deep in subtle ways and all the focus and intent is placed on the inner experience that the music provides. In some respects this program almost has more in common with a yoga or meditation session than it does the common piano recital format, although it is still a concert in the classic sense, in that a selection of pieces is performed for the assembled audience.
Although the term “psychedelic” has familiar implications in music and culture, in this case it is used in a purely musical context as the musical vocabulary composer Robert Bruce developed over many years was mainly formed using ideas he gleaned from the mid-late 60s and early 70s pop and rock music that he absorbed and loved as a child, a source which is perhaps a bit unusual in creating “classical” piano music. Reimagined and applied in this new “classical” setting, the psychedelic aspects in the music are always present but also always used in very subtle ways as the music generally takes on a serious but remarkably gentle tone. In a more general sense “Psychedelic Minimalism” is a perfect description of this streamlined and highly evocative music that can truly transport you to far away places of greater serenity.
FAQ
What is Robert Bruce’s Psychedelic Minimalism music?
As the name suggests, it is streamlined, uncluttered minimalist music, composed and performed by Robert Bruce, much of it for solo piano, that is compositionally based on many of the defining musical elements of 1960s psychedelic pop and rock music. (These, in turn, were loosely based on original blues dating from roughly the 1920s to the 1960s and beyond, with streamlined elements of folk, classical and jazz also commonly included.) Psychedelic pop/rock music ultimately has its own unique defining characteristics which are, in turn, the basis for the musical vocabulary used in Psychedelic Minimalism, a style of music that is presented in a primarily classical format.
Is it classical or rock music?
It is intended to be, and generally comes across as, a newer form of classical music. The music and live programs have a decidedly classical recital feel but the music is much more experiential that most “pure” classical music. The 1960s psychedelic musical elements are generally woven into the music in very subtle ways and are often unnoticeable unless one is specifically looking for them.
What is it about psychedelic pop/rock music that is worth taking and forming into a new kind of classical music? What are the most attractive elements? What special and unique qualities does it have that can’t be found elsewhere?
Many people talk about pop and rock music from the late 1960s and early 1970s with a certain reverence that signifies there was something special about it. Compared to most kinds of classical music from all eras this music is relatively simple in terms of the kinds of structures it uses. To analyze it, then, would be mostly missing the point. Although it may not be the go-to element for many people, including those who originally created music in that era, to Robert Bruce the essence of the best music from the psychedelic era lies in an ever-fresh creative energy that inspires, promotes and shares an unmistakable message and feeling of spiritual freedom. It is something that is not about dazzling technical skills, mental gymnastics or other elements that may place great focus on the artist/performer. The elements in question here are deeply engaging for both the musicians and the listeners and are very encouraging, very joyful in nature. Even the more somber or even darker pieces always have a comforting light at the end of the tunnel that you can sense throughout. Just as much as the melodic, harmonic and rhythmic structures taken from psychedelic music (which are also very present), it is the spirit and intention of the music that composer Robert Bruce has successfully airlifted into his own classical music.
What is the general effect of a Psychedelic Minimalism live solo piano program?
Surprizingly meditative, atmospheric and deeply experiential. This music has also been described by many as being highly visual. And many have found it to be unusually comforting, even purifying. One of the main objectives from the point of view of the composer is that the music should have aesthetics or beauty as its primary goal. Balance and depth are also outstanding features. The program, of any length, very soon establishes its own unique tone or atmosphere and it pretty much stays in that zone for the duration. There is generally no applause in between pieces but, rather, the program is performed straight through with no breaks or interruptions, so as to not needlessly break the reflective mood. As the pieces are played through, one after another, they continue to build and explore the uniquely intimate atmosphere that is created, similar in flow to how many of Robert Schumann’s piano works are written and performed..
How did this unique music come about? How was it created and what is the background?
As a child Robert Bruce formed an extremely close musical bond with the spirit, sounds and perceived intentions of the then-current 1960s psychedelic pop and rock music. By the time he was a teenager he had one foot firmly in classical music while the other remained grounded in the popular music he loved. While he recognizes the generally greater depth in classical music, the spirit of freedom often found in popular music never left him and he saw no reason why he couldn’t pursue all his musical ideals simultaneously. It was perhaps inevitable, then, that he would at some point either find or forge common ground between the two musical worlds and think of them as two sides of the same coin. And over the years that is pretty much what happened. As “serious” or “classical” music gradually became his central focus, his own “classical” music was simply composed with the musical vocabulary he felt closest to and had the most enthusiasm for. In many ways this is not a lot different from how some composers (Bartok, for example) liberally used melodies and ideas from the folk music of their respective counties in their compositions. Or perhaps how numerous jazz players and film composers have built a substantial part of their style by listening to Debussy. A composer never really knows where, when or how he or she will strike creative gold.
Like any other major era or cultural movement in music (for example French Impressionism, the Big Band era, Romantic music, etc.), Robert sees the Western pop and rock music of the late 1960s - early 1970s as a multinational cultural phenomenon which came about gradually, organically and for a variety of reasons. But, in his case, rather than placing any special focus and significance on any specific bands or artists from that era, Robert sees the era itself as an inspirational source and the basis for the musical vocabulary he uses in his own creativity and composing.
Are there any other compositional elements in this music?
Not really. But, having said that, the musical language or vocabulary is really only the package that the deeper musical/spiritual content comes in. This is true of any music.
What compositional elements from 1960s psychedelic music, then, are in this music?
Nothing too mysterious…. the compositional and harmonic structures are sometimes blues-based with “psychedelic” chords often thrown in (which often means unexpected or “surprize” chords that are from a remote key). The scales and melodies follow a similar harmonic approach and if analyzed would be considered pretty tame by today’s standards. But, of course, the basic musical structures used in any music are collectively only the launching pad for where the music ultimately goes.
Are there any other programs or expressions of Robert Bruce’s Psychedelic Minimalism besides the solo piano program?
Yes, the following are ongoing live and recording programs:
Eternal Spring - piano with 1 or 2 dancers
Songs of Light and Shadow - artsong program with piano and 1 or 2 female singers
Psychedelic Minimalism - piano duo - piano and drums/percussion program
Uncool Jazz - piano trio program - piano, bass and drums
Bubl T’s - pop music project
Blues Hologram - blues-based band with vocals
With the exception of “Eternal Spring” which features music from the solo piano program presented with special dance/choreography, all the other programs have completely unique musical content.
Robert Bruce is also pleased to offer workshops in composition and creativity for students and music appreciators of any age. These tend to focus heavily on finding one’s own creative voice and building one’s own unique musical vocabulary.
Listener's Comments:
"What a beautiful surprise your music was! The emotions you are presenting in your pieces were almost touchable, all around me and inside me! What a beautiful feeling to lose yourself in such serene music!" - T.V.
"Your music is very inspirational and I found myself visualizing different scenarios depending upon the emotion I felt from the piece..." - G.T.
"I am self-employed in a very high-stress occupation. Quite a few times when I would be visiting Brenda's office she would have your CD on and I asked her about it. I felt an immediate calm come over me and the music seemed to take me back to another place and time. During the course of a stressful day I put your CD on and it truly has a therapeutic and calming effect on me. The world seems like a peaceful place and troubles seem far, far away." - H.K.
"Just a short note to let you know how deeply your music touched me. It took me on a journey through the elements of life, love, loss and birth that contribute to who I am today." - B.L.
"I listened to your CD and I LOVE it. I found I went to a very introspective place. I didn't know what would come up. I just let my body respond with where I was at. With each piece and each re-hearing, my response was somewhat different, though there was an underlying introspective theme throughout it."
"One thing that struck me is your music feels very healing to me. I felt like my soul was being asked to tell its story. It's a story I don't have words for. I can only feel it. And what comes may be very different from what's in my head. Sometimes joy and ecstasy, other times pain and hurt. It's below everyday emotion, it's a place inside that has something deeper to say. Paradoxically I find joy through this when I actually feel. It's a challenge, too, to feel, to allow it, to risk it."
"Your music was really resonating with me. I felt like I had this invitation to go deep inside and it was safe to access whatever might be there. I had a sense that if I kept working with your music, I could go more inside and feel more of what's there in some of the closed places." – C.L.
“Robert Bruce is an artist that leads us in other dimensions of human sensation. It's a masterpiece”. - Billy Ifantis, Skylight Radio, Athens, Greece
"This is ambient music at its best. Relaxing, comforting and almost 'visual'. This is a very surprising and pleasant CD." - Tony Bates, Highlands 100.7 FM, Victoria, Australia
"His music is very visual and lends itself to conjuring up images and scenarios. It speaks of a very internal, personal soundscape with barely an influence from any other contemporary composer". - Award-Winner Music Critic Hugh Fraser, The Hamilton Spectator