“Snow Flower” is a powerful and evocative album title. What does it symbolize for you, and how does it tie into the overall message of the album?
Arising from my Tibetan background, the initial concept for Snow Flower was to contemplate the transient moments of human experience, the fleeting nature of life and our potential for positive transformation.
It sets out to create a feeling of tranquility, space and stillness and generate a sense of love, healing, mindfulness.
This album is a unique collaboration with Matt Corby, Rohin Jones, and Alex Henriksson. How did the idea for this project come about, and what was it like working together?
This collaboration arose from our friendship and our shared passion for music.
Working together was an organic process of listening, spontaneous improvisation and evolving ideas. We each came to the project from different musical backgrounds, but the process allowed us to step outside of our comfort zones and experiment with new sounds and textures. So, I think it reflects our diverse talents while creating a sound that is both fresh and intimate.
The title track, “Snow Flower,” blends traditional Tibetan sounds with modern elements. How did you approach weaving your nomadic roots into this contemporary meditative soundscape?
With Snow Flower we aimed to achieve a fusion between traditional elements and modern musical structures, allowing me to draw on my Tibetan nomadic essence. So, it evolved as an intersection between my Tibetan heritage and contemporary soundscapes. For me, it was a way of honouring my roots, while acknowledging the many influences that have shaped my musical journey so far.
You’ve said this album is a sanctuary of sound. What emotions or states of mind do you hope listeners will experience as they journey through Snow Flower?
I think this album beautifully creates a sense of stillness, like the calm of a snow-covered landscape. There are layered sounds, subtle shifts in tone and moments of quiet contemplation, so I hope the experience for listeners will be somehow soothing and restorative, like a breath of fresh air for the soul. But each listener is also free to reflect and make their own story within the music.
The album heavily incorporates the 432Hz frequency, known for its calming effects. What drew you to this frequency, and how did it influence the creative process?
Many believe that 432Hz resonates more harmoniously with the human body to create a sense of peace and relaxation. So, this approach influenced everything from tuning of the instruments to the overall sonic textures. For me this felt like a natural choice within the album’s theme, to create a sanctuary and space for contemplation.
Mantras and Tibetan Buddhist principles like compassion and loving-kindness are central to the album. How do you see these values connecting with audiences across different cultures?
Within the human condition we all share the same experiences such as suffering, joy and the wish for peace. Whether familiar with Tibetan Buddhism or not, the profound philosophy of compassion and loving-kindness has universal resonance which transcends cultural boundaries and embraces the common qualities of empathy, understanding and the need for connection. Snow Flower invites listeners to feel a sense of inner peace and compassion, not just for themselves, but for others as well.
“Snow Flower” was recorded on Bundjalung country. How did the environment and atmosphere of Rainbow Valley Studios shape the sound or feel of the album?
The recording studio is nestled in a very peaceful setting, so there is a definite connection between the land, the forests, the nearby coastline and the music. That connection gave a sense of grounding and space to explore subtle nuances and layers of sound. So, that created a natural, organic flow that I think listeners will feel when they hear the music.
The dranyen features prominently in the album. Can you tell us about its role in the music and why it was important for you to include this traditional instrument?
My instrument is the dranyen, a traditional Tibetan string instrument. I call her Metok, meaning flower. It’s quite a simple instrument with a sound that can be both earthy and ethereal – qualities that I wanted to infuse into the music. The rhythmic patterns and resonance of the dranyen balance the more expansive, atmospheric elements on the album. Including Metok, my dranyen on this album, also honours my Tibetan heritage which inspired the music for Snow Flower.
Matt Corby described Snow Flower as both functional and beautiful, a guide to life’s purest moments. How do you see the album as a tool for everyday reflection and mindfulness?
Snow Flower was written as a meditation on the impermanent nature of everything, a key tenet of Tibetan Buddhism. We can marvel at the beauty of a snowflake and how each one is distinctively different, but in the warmth of your palm it melts and goes away. Likewise, we can become attached to many things we enjoy in life but in the end, all are transient.
Snow Flower invites the listener to slow down, embrace the stillness that lies within and contemplate the human values of compassion, truth, loving-kindness and selflessness.
