In lake’ch (Mayan for “i am another yourself”) is a 13 movement work about the environment...it is about human evolution from a base existence of materialism toward a higher horizon of spiritualism nurtured by resonant light. It is about peace and optimism... It asks each of us to look inward...to evaluate our relationships with the earth...ourselves...each other...while gazing out to a far beyond...a creation story: not the ones gone by, but rather the one of our bright and potent future...an unfolding of an intelligence far beyond our known...an ancient cosmology. It is music about the coming-of-age of our planet and a growing consciousness that resonates inward to our own individual alignment with enlightenment and outwards toward a universe where all connects...bathed in higher energy...nourished by harmonic convergence. It is a personal oscillation through omniscient reverberation... The movement titles are from the poetry of Nathan Bartel and a manuscript called The Pangaea, where my inspiration first began. Nine poems titled “The Interior” (or perhaps one in 9 segments), knitted by Mayan numerology, provoked my imagination to roam and race: hearing words, and seeing sounds. These sounds, analogous to the texts, traverse a distance from recognized and obvious to eclipsed: engaged for their beauty or emotional content, or for their cellular sonic imprint...their spatial, spiritual resonance. Transformation of sounds encourages an excursion into the hinterlands of each individual imagination that chooses to travel here. There is no attempt to fuse a narrative, but rather to create a space where each listener can trek at will and pursue the pathways of their own instinct perhaps even bumping into another yourself along the way. Special thanks to Nathan Bartel for beautiful, immense poetry; to Francis Dhomont, Bernard Parmegiani and Michele Chion for their profound and poetic music (given homage here), to Gary Dibenedetto for source material from his sound sculpture and to Marjorie Sa’adda for helping breath life into the first and last movements. Very special thanks to Michael Knight and the Helene Wurlitzer Foundation without whose generosity and vision this work would never have been born! for JM, CY & ZL