"Sound Healing," the latest creation by Tibetan New Age artist Yungchen Lhasa, is an enchanting journey that transcends mere music. With haunting melodies and the ethereal echoes of splendid pan flutes and traditional instruments, it beckons you into a realm where time stands still, gracefully swirling around the sanctuary of your consciousness. It's a unique and breathtaking experience, compelling and captivating in every note.
Lhamo's voice, an instrument of wonder, defies the limits of the human range. Its resonant force uplifts and restores like a gentle breeze carrying away the weight of the world. Her seventh album, "One Drop of Kindness," is not just an auditory masterpiece; it's a testament to the transformative power of compassion. Produced alongside John Alevizakis in the heart of California's Sierra Nevada, this album weaves a tapestry of sound, blending piano, flute, drums, electric guitar, and a symphony of other instruments, each adding its own hue to the musical canvas.
Lhamo's journey, marked by collaborations with luminaries such as Bono, Billy Corgan, and Annie Lennox, has graced the world's most iconic stages. Yet, her purpose extends far beyond the spotlight. Through the One Drop of Kindness Foundation, she spreads a message of benevolence worldwide. In 2013, she took a selfless turn, redirecting her focus from international performances to working with the homeless and mentally ill. Yungchen Lhamo's music isn't just artistry; it's a radiant force for kindness and healing, a reminder that compassion can be a universal song that transcends borders and resonates in every heart.
Yungchen Lhasa said of the release:
“Musically I wanted to do something different, more instinctive and rhythmic,” says the New York- based Lhamo, who has toured to over 80 countries since releasing her award-winning debut Tibetan Prayer in 1995 and the seminal Tibet Tibet on Real World Records the following year. “John has enough instruments in his studio for a small orchestra. We chose some and started creating.”
Review by Thomas Imposter