A musician's sheet music

  lie beneath a 10-foot sheet of stainless steel bolted to a bar and stuck with 23 steel and brass rods. My back hurts. Not from the apocalyptic sounds this outre musical instrument emits, but from bench pressing 190 pounds without a spotter. I seek healing, which this instrument purports to deliver.

I look up to see the warped image of Constance Demby, her purple crushed-velvet pants paired with black boots twisting in the steel's mirror finish. "What Demby likes to do," says Demby, pausing to consider my 6-foot frame sprawled beneath her," is to play energy, and play the audience as one of her instruments."

Right now, Demby is playing a musical sculpture she calls the Space Bass. She works the rods with two bows, carving out intervals of octaves, fifths and fourths. Otherworldly overtones slide along the rods, gather like harmonized thunder in the steel sheet below and resound in my bowels. I don't know whether I feel bliss or terror. Demby, her elfin face growing mischievous beneath gold curls, takes a hard rubber ball attached to a stick and draws it across the sheet. A primordial cry, not unlike a whale, floods her studio. The sound is astonishing.

I've been to Demby's concerts before, held in her Mar Vista studio packed with three synthesizers, computer monitors, mixer, hammered dulcimer, tamboura, the infamous Space Bass and a black nest of wires that networks it all into the dozen CDs the artist has produced. Some call it space music, and most agree it's not of this world. Reason enough for sound recordists from George Lucas' Skywalker Ranch to have recently licensed Demby's music for use in their films. It was the Space Bass, the instrument I lounged under, that most intrigued them. Demby says the instrument discovered her while she was sculpting one day in 1968. Taking a torch to a thunder sheet, she was struck by the vast sound, and later added the bar and rods.

We sit with cups of tea as Demby talks of Novus Magnificat, a 1986 CD widely hailed as a breakthrough in electronic music. Demby says she has "drawerfuls of letters" that relay tales of healing - mostly of hardened hearts - from those who have listened to "Novus" and the Space Bass. She later plays a cut of her singing. Her fertile voice, rich with reverb, sounds like Kali loosed. "I call this Deep Mother," says Demby, fingering a gold ankh around her neck. "She was moving through me on this one." - R. Daniel Foster


CLICK to experience the Spectacular Sonic Steel Space Bass

"If ever there were a choreographer of the ineffable, Demby is it."

March 13, 2012 Examiner


Good Vibrations

3-D Holographic Luminescent Sonic Immersion
show at the Laserium


I'm moving to the Valley.

Not really, but the thought did cross my mind during a recent Thursday night
when some patchouli-scented Topanga friends and I piled into my
vegetable-oil-powered Benz for an impromptu excursion deep into the Valley.
Past Oxnard, past Magnolia, past Victory, deeper and deeper we went until we
reached the Crown Jewel of the otherwise dusty and graffiti-stained cultural
outpost that is Van Nuys the Laserium.

Whats this show were going to, again? one of the guys in the backseat
asked while blowing a cloud of smoke through the sunroof.

Its a 3-D Holographic Luminescent Sonic Immersion combining live
acoustic-sound healing with state-of-the-art 3-D stereoscopic live visuals,
someone replied, reading from a flier.

Sounds weird, he said, coughing and giggling all at once.

Exactly! I chimed in, excited at the prospect of the impending
transformative journey into Sacred Spiritual Union, Energetic Healing and
Harmonic Retuning of [my] entire embodiment despite that it would take
place in Van Nuys.

We arrived half an hour late. The show was just starting... Onstage, a
plasma television sat high up on a ledge in front of a larger, movie screen.
Constance Demby, musician /sound healer, darted between an electric keyboard
and a strange-looking contraption of her own invention: the Space Bass an
interactive sculpture made of tuning sticks and metal, which she played with
two resin-caked bows. Off to the side, Rik Henderson, a.k.a. VJ Euphoria,
sat in front of a computer, tip-tapping the evenings visual component ....
The quality of the visuals was amazing sharp, cutting psychedelic imagery
jutting from the screen, tempting the audience to reach out and grab hold.
Surrounding Rik's visuals were a flowing ocean of 'lumia' laser effects,
created and performed by David Clark.

Twenty minutes into the show, my friend leaned in and whispered: Thats
what my DMT experience looked like. He was referring to Dimethyltriptamine
a psychedelic substance found in most grasses and in your brain. One puff
will launch you through your own death and out the other side into a world
of dancing neon Fabergé eggs.

Demby announced that Part Two would tune up our chakras. The images
appearing onscreen were amazing wild flashes of neon spinning yarns of
sacred geometry and psychedelia. The visuals merged with the sound, and wave
after wave of healing vibrations saturated the darkened room.

Put your attention in your fifth chakra! Demby commanded. Fifth chakra .
. . the throat. All of a sudden my neck was warm and tingling, alive with
energy, pulsating in synchronicity with Dembys Space Bass, with the
swirling mandalas on the screen, and with the entire mini-mall-dotted
expanse of the San Fernando Valley.

Milling about the lobby after the show, we nibbled chocolate and
strawberries, sipped soy chai, oozed trippy warm vibes all over one
anothers sensible shoes and decided that next Saturday would find us once
again on the wrong side of the hill, inside the Laserium, tripping our heads
off to Pink Floyds Dark Side of the Moon.

"ProFile" Constance Demby in Spain:
A New Authentico by Carol Wright

Drawing inspiration from Spain: Demby enjoying the view
of the Mediterranean from the terraza of her home studio.

In the fall of 2000, Constance Demby, the queen of symphonic space music, pulled up her American
roots and moved her studio and cat, bags and body permanently to Spain. Those who know her were not surprised at her choice of country, for the romantic, artistic, and emotional scope of that land seemed to fit the depths of her passionate spirit.

For most New Age music fans, Demby will always be remembered for her groundbreaking Novus Magnificat with its benediction of cascading starlight and its sacred avalanche of massed choir and orchestra. Many albums feature her two custom bowed steel instruments, the space bass and the whale sail, which pull the emotions to body-centered archetypal depths. On the stellar level, Demby plays the bright flurried tones of the hammered dulcimer, and since the mid-1980s, she has used keyboards with its unlimited range of samples. She'll often layer in her voice, which can dip into primordial territory.

Whatever her choice of instrument-and in a live concert, she can use them all-Demby is a determined composer. Her music is meant to move you, to transform, to be emotionally cathartic and spiritually uplifting. The gypsies would have a word for her type of music-"duende."

This May, Carol Wright spoke by phone with Ms. Demby who was finally settled in her terrazo home near Barcelona.

NAV: What's new?
Constance Demby: Well, what is new for Constance Demby is that she has moved from her home country to a foreign land, Spain, where she is very happy. So there is a new country, there is a new album, and there is a new record company-Scott Hartley's First Light Music. And there is touring coming up.

NAV: Wow, what direction to go first? Well, why Spain? Was it a retreat from the U.S. music scene? A pull to a romantic land or. . . ?
Demby: I had been in Los Angeles for a few years, and though it was great for the industry contacts, but I never felt completely at home there. Somehow I couldn't fully relax, sink in and call it home. Just something in the air that wasn't right for me, personally. Loud rap music poured from every doorway in the malls and from the windows of passing cars. People are numb to this sonic assault, and they don't seem to notice that their sonic atmosphere is polluted.

And although I am not in the pop music genre, pop's extremes, the performers' artifice, fake emotions, and over-production did seem to define the overall American culture. Is that what music's supposed to be about? Music is being written for "non-musical" reasons, to sell something or to jump aboard the latest youth-pop groove or style. You can't count on your talent, sincerity, and authenticity being recognized and rewarded. It's no news that the music industry can be, well, brutal in this regard.

I feel also like we are all coming out of the other side of a decade of general tumultuous change in the world. Those who had sensitive nervous systems could feel the chaos in the air. It was the decade of processing society's shadow, and it's been like a rocky boat. Hopefully, the ship will have some smooth sailing, and I will dive off the side of the ship and submerge myself into deep waters and bring out lots of new albums.

NAV: Why did you go to L.A. in the first place? It's not known to be kind.
Demby: I originally moved to Los Angeles from Marin County because I felt the call to meet those in the film and music industry. I did meet a lot of wonderful people there, such as Scott, Suzanne Doucet of Only New Age Music, my film representative Maxie Cohen, my screenplay writer Rosie Schuster, who used to write for Saturday Night Live. We are putting together some deals for a film I've written, a sci-fi interdimensional adventure, that's also a musical (or is it a musical interdimensional sci-fi adventure flick?). I also had some wonderful conversations with Steven Simon, producer of What Dreams May Come. It's a fascinating environment in which to meet folks in the industry.

After about a year-and-a-half of L.A., some friends visited from Spain and mentioned how this reviewer there, when he writes about New Age music, says that Constance Demby was the finest of the genre. When they said that, something in my heart just lept. I said, "I'm coming to Spain. I'm going!" It was a spontaneous gesture from my heart, and within a couple of weeks, I realized that this comment was not just an impulse, but that I would indeed move to Spain. Not just to tour or visit, but to take the leap of faith and live there.

So, I wanted a new adventure. We get so set in our ways and our habits and companions and business. And we never think, ya know, I'm going pick up, crate up the studio, fly the cat over, and just do it.

So at the end of 2000, after a grand garage sale, I was off to Barcelona with but a few contacts and no real place to land. There were many memorable days of conducting my business from phone booths on the sidewalk. I've moved locations a number of times, and I had some difficulties getting my studio to operate on Spanish current, but I'm all settled now in a four-story home.

NAV: Where do you live?
Demby: I live in a little pueblo called Sitges about a half hour train ride from Barcelona. Envision narrow lanes and old whitewashed buildings. People walk in the streets, and there's a beautiful boardwalk on the Mediterranean with charming restaurants and shops. Ancient castles and old churches. Art museums and Gaudi's intriguing buildings in Barcelona. Ceramic tiles line the streets, tiles designed by Salvador Dali!

I have a wonderful four-story house on a hill covered with terrazas, porches. On the top floor is my studio. After hours of recording, I walk out on the terraza, and see the whole town, the cars and the trains going by. And the Mediterranean is all blue and sparkly. I drink in this sight and think, God, I'm glad I'm here! Then I go back and dive into the recording studio.

At the Palau de Maricel in Sitges

NAV: What album are you working on?
Demby: The album I'm just completing is a "new" Faces of the Christ, to be released by First Light Music by the middle of summer. This new version is based upon the original score for the video of the same name from Avalon Productions. I didn't think twice about the music after the video was completed, however, Scott just loved the music and wanted to release it. We were all set to manufacture, but then he called me from America saying there was a problem with the master and he asked me to remix.

So I got the old files back up, and as soon as I did, I started to enhance some of the tracks, and the next thing I knew, a great big opening came allowing me to discover the true meaning of the themes. As a result, I was able to go much deeper into the piece and discover what was actually there. I'm very glad there was a problem with the master because I am exploring the themes in much more depth. It is a much bigger offering than the original score.

[note: after this article was printed in NAV, the "new" Faces of the Christ was retitled, Sanctum Sanctuorum]

NAV: What was the visual inspiration for your Faces of the Christ soundtrack?
Demby: The video images showed faces of the Christ through history. It was very serene, and the video had a peaceful rhythm to it with slow fades. As I watched it, I created music with the same ambient, sublime quality. The new Faces of the Christ is also in that feeling. I've added a Gregorian chant flavor and some "Novus" blasts, but the word sublime keeps coming up. It's a transportive realm one can enter. When you listen frontally, with full absorption, you always get the full emotional impact. Or you can listen to it as an ambient background.

NAV: Some people don't even know what you're talking about. What do you mean by "listen frontally"?
Demby: Ambient is the kind of music you can listen to for atmosphere in the room. Frontal listening is full absorption, complete immersion, like a meditation. Turn off the lights, turn off the phone, get comfortable, turn up the sound system, and travel with the music. It's a journey. On my website, I've posted a number of letters from fans who have had pretty amazing experiences with Novus and Aeterna with healings and deep emotional work and releasing. You get those results with frontal listening.

NAV: What follows Faces of the Christ?
Demby: Well, first we're putting together new enhanced covers and mastering for all the Sound Currents older catalogue. Then, we will release a compilation album (not titled yet) and my first film score entitled I Am. So, the album I've been waiting to do is three albums away. I've also been filmed playing my sonic steel instruments in Antoni Gaudi's famous Parc Guell structure; the footage will be included in a Discovery Channel feature entitled The Power of Music.

NAV: So, you have another big new creation coming?
Demby: She, the big mother album, is very elusive. I wish I could start her next week. She has been with me for years, but she has her own timing. But once I start composing this, the energy of the music will just overtake me.

NAV: Do you disappear in to your music?
Demby: Oh, yeah. Today, I didn't go to sleep until 6 a.m., got up at 10 a.m., got my coffee and went upstairs. And when I came down to eat breakfast, it was 8 o'clock at night. I had been drinking sounds and eating notes. When I compose, the sound and music is so nourishing and regenerative. The needs of the body are not even considered because I am so focused and completely enveloped. One note leads you to another, and you can't wait to go upstairs and turn on the equipment and see what you did yesterday. As soon as you open up those computer files, you're gone! Gone, gone, inside the music and the music is all around you. I think I could stay in my pajamas for weeks!

NAV: You have been with Hearts of Space for so long. Why the move?
: I met Scott while in Los Angeles and right before I left for Spain, we put together a deal. I was released from Hearts of Space, and now I'm in a new cycle with a new record company. Artists go through cycles with their record companies, just like husbands and wives with their marriages. Some of my albums-Novus Magnificat, Aeterna, and Sacred Space Music-remain on their original Hearts of Space label. Set Free will be a Sound Currents recording as soon as we work up a new cover design. Attunement is a recent Sound Currents album I recorded at a salon in December of 1999. I think people will be amazed that this solo concert was recorded live, with no studio overdubbing.

Since I left the United States, my career has really opened up. It's always said that if you want work, just leave town. There is no place more unappreciative than your own hometown. I guess now I'm an exotic foreigner, and I have a lineup of visitors and industry people, foreigners, who are all coming long distances to see me here in Barcelona. That just didn't happen in the states.

NAV: What about live concerts?
: The audiences in Spain are very appreciative of my concerts. The first one was in Esplugues de Llobregat in December. I mentioned to a friend that I'd really like to play for the people of Spain for the Christmas season. Within two days, a wonderful man who has been a fan of mine for years called and said he would like to produce a concert for me. Wow, that was fast! The next one was at the Mercat de les Flores in a packed room. Both before and after, I looked into the audience, and everybody was smiling. There just seems to be love in the air. It was a really exquisite concert and I got a very nice
review in Spanish. (click on review to read in English or Spanish.)

In July, I'll play at the Tarragona Music Festival in July. Michel Huygen and I will play a double bill in a castle in the Pyrenees in the late summer. And we're looking at various locations around Europe.

NAV: Have you been able to absorb the Spanish music and language?
Demby: I've been so busy getting settled, I haven't had time to take the Spanish classes I want, nor to attend many live concerts, nor to travel much. However, the culture is in the architecture, the fountains, and even in the rounded street corners.

The Spanish are a loving people, a warm people, not as pressured or stressed out as in America. Here in Spain, time and money and production, the hurry-up-and-work, the hurry-up-and-produce pressures are not the same. I knew I was going to find something like that here, a lifestyle that is closer to the earth, not so production-crazed and stressed and pressured, where everybody is so distracted.

Even though I don't speak much Spanish, I've picked up a lot, have conversations and understand a fair amount. Simply by listening and copying what you hear you can get along pretty well. So I'm at home here. It has to do with the vibration and frequency and the feeling in the air. Something that I'm sensitive to. It's somewhat maddening to try to maintain the convenience and efficiency of the American business environment, but that is balanced by other things. Spain is closer to the earth, another wonderful quality. Even the vegetables taste better here. It's "authentico, authentico."

NAV: How's your American pussygato adjusting?
Demby: Miss Muffet is enjoying the attention of several new Spanish suitors. They all line up regularly outside my door for their "kitty krinkles" because they know the American woman is a big-hearted sucker who will always feed them.


From right to left:
Kwan Yin - Goddess of Mercy and Compassion, Swami Connie Mommie Nanda, Miss Muffett.