Not Without Risk (Reviews)
“I love Not Without Risk! There is such a shortage of really good, primal, powerful, organic, densely immersed and palpably dimensional drumming recordings. Sign me up!”
— Ron Tofanelli
Sound Spaces
“This intense tribal percussion-heavy journey is not for the faint at heart, and while the word “shamanic music” gets used freely now, this is to be considered the real deal.”
— Steve Roach
award winning recording artist & sonic innovator
“The second solo effort by percussionist Byron Metcalf lets out all the stops, and dives straight into the heart of percussive, juicy music, with deep rhythms, a bottom that won't quit, and high-caliber production of his own design. Turn it up on a good stereo & hang on!”
— Lloyd Barde
Backroads Music
[Not Without Risk] is another in Byron Metcalf's successful endeavors with shamanic music... it answers the very important question, "where this work fits into world music programming?"....there is a driving quality about all that is in this work that is an extension of his earlier CD "Helpers, Guides & Allies."
But it seems to me like Byron has narrowed his focus a bit and concentrated more on trance inducing music this time out...in reading the liner notes one can see that Byron and his wife/partner Shawn Cardinal use this music in some way in their transpersonal therapy work...I like the idea that good world music as we hear in this CD can be used in a healing practice....that just seems very exciting to me....
Favorite cuts here at KFCF 88.1 FM, Fresno are cut 1. title cut, cut 2. "Fields of Intention", cut #5 "Spirit Gathering", and cut #6 "Dark Brew." aaaaah nuts, I liked it all!!!
Any CD that includes some of the work of Steve Roach (and here on didgeridoo to boot) has to have that "I could listen to this music all night long" quality....
— Jim Compton-Schmidt, Jazz DJ
World Music program "Earthbeat!" on KFCF 88.1 FM, Fresno, CA
Byron Metcalf's life defines holistic integration. He holds numerous degrees in psychology and counseling and he is a shamanic practitioner. He is a pioneer of the therapeutic use and healing potential of "nonordinary" states of consciousness. He is also a world class percussionist and a leader in the field of healing music.
NOT WITHOUT RISK is his third CD. (His second CD was a collaboration with Steve Roach.) It is truly a worthwhile endeavor. (To quote Byron, "Any worthwhile endeavor is not without risk.")
Byron's soundworlds are deep and rhythmic journeys into the self. His intention is to give his listeners the opportunity to heal. He does not do the healing. Like any good counselor, Byron merely provides guidance and safety.
And Byron has assembled a stellar cast of supporters to assist him. Appearing with Byron are Steve Roach (Didg, spirit voice, ocarina, loops, processing, "Serpent Groove Alchemy"), Ron Oates (keyboards, soundworlds), Jack Coddington (didgeridoo), Richard Blum (Native American flute), Rian McGonigal (didgeridoo), Lena Stevens (vocals), Jamie Keehan (soprano voice), Michael Keehan (spirit voice) and Byron's wife and partner, Shawn Cardinal (spirit voice).
The set runs the gamut from intense rhythmic head music to gentle Native American minimalism. Byron weaves his magic throughout the disc. His percussion carries the flow and guides listeners to the healing touch. That touch comes from within each listener. It can be spiritual, emotional and/or personal. It is always powerful!
— Jim Brenholts
Ambient Visions
Fans of Steve Roach will recognize the name of Byron Metcalf from last year's collaboration album, The Serpent's Lair. Metcalf, who like Roach lives in Arizona, is a specialist in shamanism, shamanic percussion and trance drumming. He's both a musician and a psychologist, who explores transpersonal and shamanic methodologies. Here on NOT WITH0UT RISK Metcalf and friends (many of whom also worked on The Serpent's Lair) send forth a set of eight percussion-filled pieces into the electronic aether. That wily coyote Steve Roach also shows up here and there on this album, contributing his characteristiCDsert drones and "serpent groove alchemy."
This album is good stuff. It begins with a powerful drum session, the first and title track "Not Without Risk." It continues loudly for a couple more tracks before settling into mysterious nocturnal rattling, tooting, whispering, and slow beats (track 4, "Medicine Story" and track 5, "Spirit Gathering"). The pace picks up again with track 6, "Dark Brew" and track 7, "Clan Travelers," which chugs along with a steady rhythm for about 10 minutes.
Then for the last track there's a major change of pace. This piece is credited to Ron Oates, rather than Byron Metcalf. Throughout the album up to this track, the drums have ruled, and melody and tone have been minimal. But here, in "Light from a Burning Bridge," the drums fall to a soft tapping, and floating, melancholy, wistful minor chords take over. The title is poignant, and made even sadder by events that Metcalf and Oates, when they made this music, could not foresee (light from burning skyscrapers). It's a moving finale to a 74-minute shamanic sound journey.
Another good thing I wanted to mention was technical excellence: how well the album was recorded. The big drums really came through, and the highs were clear and bright. A lot of percussion albums lose bass and volume and "attack" somehow, but this recording preserved the sound.
— Hannah M.G. Shapero
I have used Byron Metcalf's NOT WITH0UT RISK in shamanic divination journey work of various kinds, and have found it to be extremely valuable in taking one to the deep, at times frightening inner spaces that one often encounters in self-exploration. The deep resonant bass pulse and driving rhythms keep one moving through the changes, and provide a safe container for this kind of work.
— Ralph Metzner, Ph.D.
Author of THE UNFOLDING SELF
This is Byron Metcalf's second solo release, and a perfect followup to last years critically acclaimed collaboration with Steve Roach, The Serpent's Lair (Projekt Records, 2000). Sonically, it's very much a deeper microscopic continuation of a shamanic journey, which began with The Serpent's Lair.
Byron combines his skills as a drummer/percussionist with his background as a psychologist and shamanic practitioner creating visionary soundscapes. Beginning with his 1998 debut release of Helpers, Guides & Allies, Byron's music has been used extensively in experiential shamanism and journey work, various meditation practices, breathwork, trance dance, bodywork and other healing arts.
In the process of creating NOT WITHOUT RISK, Byron fused layers of organiCDums and percussion, didgeridoo, soundworlds and sonic atmospheres, various indigenous instruments and voice to create a powerful musical experience.
The album also features Steve Roach on didgeridoo, spirit voice, loops and processing; Rian McGonigal on didgeridoo; Ron Oates on keyboards and soundworlds, Jack Coddington on digeridoo, Lena Stevens vocal on' Medicine Story'; Richard Blum Native American flutes on 'Spirit Gathering'; Shawn Cardinal (Byron's wife) and Michael Keehan, offer their spirt voices on 'Spirit Gathering', and Jamie Keehan's soprano voice is featured on 'Light from a Burning Bridge'.
NOT WITHOUT RISK is about communication beyond words, beyond language. It resides within the realm of pure sound, and natural rhythm. It is a multicultural, shamanic, percussive treat for the senses. NOT WITHOUT RISK can both evoke and create a mind-altering, transformative experience in listeners that are open to its deep, mysterious and sensuous grooves. The eight compositions that comprise NOT WITHOUT RISK stretch out over a period of almost 74 minutes, leaving the listener mesmerized as the last notes of 'Light from a Burning Bridge' echo off into the distance.
Joined by a supporting cast of nine musicians, Metcalf creates a true celebration of life. The rhythms are bold and evocative. Not only has he blended traditional world music influences into his own distinctive style, but he has also mastered playing each instrument using authentic techniques and rhythms. Listening to NOT WITHOUT RISK is an experience that warms the heart and soul. It is an exotic and personal musical statement. Metcalf has brought together a fabulous ensemble of players, accenting his inventive handling of rhythm, texture and pitch. It is upbeat and exciting collection of traditional and modern influences.
Highly recommended!
— Ben Kettlewell
Alternate Music Press
I love the new CD [NOT WITHOUT RISK]! There is such a shortage of really good, primal, powerful, organic, densely immersed and palpably dimensional drumming recordings. Sign me up!
— Ron Tofanelli, Sound Spaces
Mill Valley, CA
The second solo recording by shamanic counselor and master percussionist Byron Metcalf, "Not Without Risk" is a sturdy and reliable tool for otherworld/innerworld work. Wear your seatbelt!
Track 1: "Not Without Risk" The title track of the CD, "Not Without Risk" opens up with a thunderous and potent soniCDiving beat that issues a kind of declaration of sorts: "Hey, you, pay attention! This is the journey you've been meaning to take but haven't until now. It is a road of knowledge, but it is not without risk."
Technically the piece is a nice induction into liminal space and in-between consciousness. In some ways it struck me as being like an initiatory celebration. A rich, full-bodied and bold track (I feel as though I am describing a good beer or a meal) the listener will feel just that: fed. It is an initiatory feast.
Track 2: "Fields of Intention: Track 2 reminds me of Gabrielle Roth's "Stacatto" in her 5 Rhythms work. It is a profound reminder to not forget the body in otherworldly and visionary work. In Celtic tradition we think of the body as the soul-shrine. "Fields of Intention" is imbued with a sense of integration and acknowledgment that the body is how we experience our earthiness. A good piece for movement.
Track 3: "Primordial Recognition" Track 3 opens with a haunting multi-textured weave of ocarina, spirit breath, didgeridoo and various rattles and percussive instruments. The overall mood of this piece speaks of expectancy, as if we are being carried through a never-before-seen yet somehow familiar landscape to meet up with an ancestor. The smooth, even, and unrushed quality of "Primordial Recognition" is a refreshing change from so many recordings that have a tendency to blind the voyager with overly frenetic energy. This has its place, no doubt, but too much energy that never lets up prevents absorption. "Primordial Recognition" is superb in its ability to deliver remembrance.
Track 4: "Medicine Story" One of my absolute favorites, Track 4 is an astonishing recording. It is, no doubt, the product of seasoned journeyers who ears know as much as their eyes. Lena Stevens' contagious vocals gives the impression that we are accompanied. I felt her voice like an ancient grandmother telling a story, weaving a new dream from a cave. A standing rhythm sings forth from a frame drum, providing a trustworthy and reliable formulaic beat upon which soundworlds, chant and other spirit-breath sounds could germinate. At once filled with sensuality and mystery, as well as a feeling of home, "Medicine Story" conjures it all: birth, passage, sexual union, death, totemic awareness and arrival. *****
Track 5: "Spirit Gathering" "Spirit Gathering" is an apt name for this glorious piece. The blending of Native American flutes, drums, breath-sounds and nature sounds (tree frogs/crickets) ushers us to a center point of primal power, a veritable seed-pod from which all mysticism is born. My mind was filled with images of Buddhist prayers being uttered in a swirl of incense, Pueblo people wandering on Salt Pilgrimage, pilgrims making their way to Chimayo as well as up the side of Crough Padhraig in Ireland. The cyclic appearance, eclipse and reappearance of the deep earth drum beat from a frame drum offers the psyche a moment to catch up to itself, a time to integrate. Nice touch.
Track 6: "Dark Brew" The opening synthesizer soundworlds of Ron Oates on "Dark Brew" is subtle. It is laCDwith the emotion of hope. . . . hope that this grand experiment of humanity is leading somewhere. A feeling of a "future earth culture" stands out in this dance of and dialogue of didgeridoo and percussion. Snakes shedding skins, banished serpents from Ireland's shores returning, Ayahuasca teachings from writhing membranes, mortality, choicemaking.
Track 7: "Clan Travelers" African shaman Malidoma Some' once said, "It is a sign of impending illness if a person hears the drums and does not dance or does not fly." Enough said. Track 7 went straight to my feet and a druid night-dance spilled out onto the wood planks of the floor. This track comes with a prerequisite: move, fly or die.
Track 8: "Light From A Burning Bridge" The tapestry of Jamie Keehan's heart-melting voice aswirl with Ron Oates' soundsworlds, punctuated with drumbeats from Byron Metcalf that felt like rhythmic acupuncture needles in the soul, and the spirit cannot help but expand. A profound reattunement to one's place in the grand shape of things.
— Frank MacEowen
Celtic shamanist/transpersonal counselor/teacher/author
"True medicine music for the body and breath. The constant flow of varied rhythms and tempos created by percussionist Byron Metcalf create the perfect map for personal and group travels."
— Steve Roach
Sonic innovator & award winning recording artist
"It is rhythmic, it is trance inducing, and it is altered state inducing. You find yourself breathing rhythmically as the music directs you and then you are transported elsewhere. This music takes you to the inner landscapes that most of us do not visit enough."
— Magical Blend Magazine