East Forest

That's a good question. Like how did the evolution of the music happen because of the service to others? A lot of the music I was improvising and playing in those spaces, like guiding people. And so it very much is purpose-driven music in that way. In that moment, it has a very specific use.

By doing that for many, many years, it starts to get its own language, like a musical language of how you do that or why you do that.

By doing that for many, many years, it starts to get its own language, like a musical language of how you do that or why you do that.

By doing that for many, many years, it starts to get its own language, like a musical language of how you do that or why you do that.

And so in that way, I think it absolutely shaped the sound and the instruments and the fact that it was like long form or if I'm bringing in field recordings because that brought a particular quality, you know, and that just became the language of the music I was making.

And so in that way, I think it absolutely shaped the sound and the instruments and the fact that it was like long form or if I'm bringing in field recordings because that brought a particular quality, you know, and that just became the language of the music I was making.

And so in that way, I think it absolutely shaped the sound and the instruments and the fact that it was like long form or if I'm bringing in field recordings because that brought a particular quality, you know, and that just became the language of the music I was making.

It's always been a lot of piano or keyboard based as the primary, you know, glue or instrument, melodic instrument. I was using a lot of electronic elements too because, you know, you're by yourself and that's one way to make rhythm and beats. You can do it like on a computer. But I also started using a lot of percussion, shakers, and I wanted to bring a diversity of sounds.

It's always been a lot of piano or keyboard based as the primary, you know, glue or instrument, melodic instrument. I was using a lot of electronic elements too because, you know, you're by yourself and that's one way to make rhythm and beats. You can do it like on a computer. But I also started using a lot of percussion, shakers, and I wanted to bring a diversity of sounds.

It's always been a lot of piano or keyboard based as the primary, you know, glue or instrument, melodic instrument. I was using a lot of electronic elements too because, you know, you're by yourself and that's one way to make rhythm and beats. You can do it like on a computer. But I also started using a lot of percussion, shakers, and I wanted to bring a diversity of sounds.

And I could play woodwinds a little bit. So I brought flutes in, brought harmonicas in, melodicas. I also brought in non-melodic instruments like Tibetan bowls or gongs.

And I could play woodwinds a little bit. So I brought flutes in, brought harmonicas in, melodicas. I also brought in non-melodic instruments like Tibetan bowls or gongs.

And I could play woodwinds a little bit. So I brought flutes in, brought harmonicas in, melodicas. I also brought in non-melodic instruments like Tibetan bowls or gongs.

Part of that was wanting to just have a variety of sound. And it was also seeing like what other sounds can I play that are also going to be conducive to an inner journey to that sort of calming of the nervous system.

Part of that was wanting to just have a variety of sound. And it was also seeing like what other sounds can I play that are also going to be conducive to an inner journey to that sort of calming of the nervous system.

Part of that was wanting to just have a variety of sound. And it was also seeing like what other sounds can I play that are also going to be conducive to an inner journey to that sort of calming of the nervous system.

I started bringing more of my voice back into it. I started singing more, but finding I like doing a kind of like glossolalia, like singing without specific words. It's sort of like toning or words that sound like another language maybe, but more like vowels and so forth. And

I started bringing more of my voice back into it. I started singing more, but finding I like doing a kind of like glossolalia, like singing without specific words. It's sort of like toning or words that sound like another language maybe, but more like vowels and so forth. And

I started bringing more of my voice back into it. I started singing more, but finding I like doing a kind of like glossolalia, like singing without specific words. It's sort of like toning or words that sound like another language maybe, but more like vowels and so forth. And

That developed over the years because in the ceremonies, I didn't want to like, I don't know if like if you say words, they're very specific in a sense, like it has a meaning to people and the tones could have any meaning. It was just emotion. And so that became more of something that I do to this day. Now it's just second nature, but it came from that space.