Although I had already begun attempting to express Indian styles with the guitar, this Prasana tape was highly influential. It encouraged me to continue using an instrument with which I was already familiar, rather than going back to zero with another, as many had been advising. Just over ten years ago, I was playing predominantly with these types of expression and composition. Nowadays the time spent in pursuit of that knowledge continues to inform my guitar, even though it is more and more rare for my performances to be explicitly in an Indian style.
Views on C#: Xeno Chronic Shangri-la, p1, documents autodidactic attempts at a style of expression, improvisation, and composition informed tradition but with a blindness that precluded collaboration.
https://sr-shah.bandcamp.com/album/views-on-c-xeno-chronic-shangri-la-part-1
Despite being based on Indian modes, all are failures to express the composition and, out of respect, have therefore been titled with poems containing occult reference to the performance’s position in space/time rather than pretentiously associating with classical repertoire.
This series was produced from a period of ritualistic exploration roughly five years ago, well beyond the peak of my scholarship in this field. These are solitary meditations on fading memories, each suffering a fatal wabi-sabi-like flaw.