Archive for November, 2011

Shamans of the Sacred Valley

see published article

Wellbeing Magazine,

August, 2011

Most tourists who visit Peru’s Sacred Valley will whip around its famed capital, Cusco, then beeline it for iconic Incan ruin, Machu Picchu. Both are wondrous sights and tourists looking for photographs and souvenirs will return home satisfied. But for seekers rather than sightseers, the Sacred Valley also offers ayahuasca: a potent, hallucinogenic, shamanic healing medicine.

My experience begins a month before Peru while visiting a friend in California. At a dinner party I mention I’m interested in shamanic healing. A guest says he’s just returned from an ayahuasca retreat in Iquitos in Peru’s Amazon jungle. Humid and buggy, Iquitos is the centre of Peru’s ‘psychedelic tourism’ boom but he warns me Iquitos is intense for first-timers.

“Go to the Sacred Valley. It’s gentler there.”

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Geoffrey O’Connor, live – Goodgod Small Club

The Brag,

November 2011

Goodgod is hellishly hot and fire-trappy. The ceiling, always imminent, feels even lower and bodies shine with sweat. Flanked by a bassist and a keyboard player, Geoffrey O’Connor materialises onstage in a wizardly billow of smoke and lasers, his guitar draped Springsteen-style from his shoulder.

Geoffrey O'Connor. Image C/O Chapter Music: chaptermusic.com.au

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Ray Raposa of Castanets – interview

Just dug this one out – forgot to re-publish back in ’09, but it remains one of my favourite records of the past few years…

The Brag, December 2009

The idea of the album as a collection of songs bound by a sonic narrative is growing ever more antiquated. But it’s equally as persistent, quietly championed by musicians who choose to ignore the commercial realities of pay-per-song downloading and opt, instead, to create albums instead of singles. Ray Raposa is the 28-year-old Portland-based singer and songwriter behind solo project, Castanets, and a believer in the album.

Ray Raposa, image C/O http://rcrdlbl.com

“I’m still pretty old-fashioned and stick-in-the mud in that I want records to make sense as records and prefer people to listen from start to finish,” says Raposa. “I need [the record] to be a cohesive thing. Mainly it comes down to establishing a sonic narrative for the record that I admit may be more important to me than to someone paying 99 cents per song on iTunes and getting stuck with a 50-second synth snippet.”

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