At the leading edge of music for the Fourth Age, it must be said that Ross Aubrey’s music resists categorization as it effortlessly glides from one isolated dimension to another. Simply put, it is an hypnotic musical experiment incorporating harmonic elements and auditory effects seldom associated with traditional musical composition.

Few artists are able to stand alone in any contemporary field of endeavour in the way Ross Aubrey does having created an extraordinary catalogue of recordings which surpass the emblematic range of cultural boundaries, abducting his listeners to uncharted realms of dreamlike musical imagery.

Ross Aubrey first came to notice in 1998 with the release of the mesmerizing ‘Year of the Snake’ which provided 14 instrumental renderings depicting various species of serpents from across the globe. Its opening track ‘Asian Pipe Snake’ is often described as one of the most sensual pieces of music ever recorded. Much like their inspiration ‘Year of The Snake‘ is a diverse and distinct series of beguiling instrumentals which euphoniously coil around your imagination, fascinating and seducing as well as occasionally arousing a measure of fear. This fascinating early work by the then largely unknown musician/composer ignited the recording career which would see Ross Aubrey become one of Australia’s finest exponents of experimental music.

Following the same compositional direction was the subsequent release of ‘Avian’ and ‘Frilled-Neck’ each CD presenting sumptuous orchestrations of sound entwined with deceptively simplistic depictions of Australian fauna and birdlife respectively.

‘Avian’s absorbing and captivating array of vocalizations from our unique native birdlife blended flawlessly with wide ranging instrumentation and indigenous rhythms provoked visions of flight, serenity and quirkiness whilst ‘Frilled-Neck’ offered its listeners an exciting collection of compositions vividly depicting an eclectic range of indigenous animals. Both these multifaceted and oftentimes exquisite interpretations illustrated the characteristics of the wide variety of native wildlife and remain deeply rewarding recordings which invoke a range of thematic musical images intrinsic only to Australia.

From that point on each subsequent release has become a reference point for experimental musical composition providing a consistent sequence of compellingly stunning soundscapes which rise above traditional musical concepts of instrumentation, syncopation and conventional musical metaphors.

2003 provided ‘Blue Noise’ which possibly demonstrated Ross Aubrey’s music at its most cryptic, innovative and starkly dramatic. ‘Blue Noise’ experiments with white / pink noise and static, fusing innovative percussion within oftentimes angelic and breathtaking arrangements, both minimal and complex. Continuing his own idiosyncratic tradition of defying description in well-defined musical terms, Ross said of ‘Blue Noise’…”If you have to ask, I can’t tell you…!”

The formation of ‘Llafeht' Publishing’ (www.Llafehtpublishing.com.au) in 2004 for the first time made fully available catalogue of recordings and literary work created by Ross Aubrey as well as assuming the additional role of archiving (and hopefully releasing) all previous literary and musical compositions created by or associated with him.

2004 also saw the release of ‘Spirit Guide’ which perhaps presented Ross Aubrey at his incomparable best.

Comprising of 10 compelling tracks ‘Spirit Guide again set new benchmarks in the field of innovative production, arrangement and recording. It remains a spellbinding collection distinctively demonstrating how this persistently inventive composer continues to lead the way in avant-garde composition. Chaos Music’s (http://chaos.com) website describes ‘Spirit Guide’ as “extending the listener beyond the boundaries of western cultural paradigms and immerses them in musical ideals beyond all otherworldly emotions”.

2005 heralded the release of ‘Turin’ which delivered 6 simplistic, purposely one dimensional compositions that further push the concepts of music to new levels of density and strength. Unconventional yet stunning string arrangements blended with otherworldly drones are churned simultaneously creating a misleadingly laidback ambience and sense of tranquil harmony.

Ross Aubrey’s music remains persistently innovatory and beguiling, hypnotizing even the most jaded music lover with each new release a brilliant opus enveloping an ambience all of its own. Stark, mystical, the sounds you will hear can transport you from a desolate desert to the summits of insurmountable mountains with their elaborate aural atmospheres and colourings. This is contemporaneous music as an individual art-form following few if any pioneers.

In a generation when music as a form of artistic expression becomes increasingly contrived and commercialized, Ross Aubrey continues to be perfectly relaxed miles away from the purposely designed recordings of most popular artists. Just as other cult musicians may create non-commercial music which is experimental and challenges the listener, Ross Aubrey’s compositions remain in many ways just as experimental as the most abstract of recording artist. The only difference being that Ross Aubrey’s music has the additional benefit of being sublimely beautiful.