The Pavilion of Dreams

By 1970, composer Harold Budd’s work had become increasingly minimalist and after releasing a long-form solo gong piece, Budd decided to minimalize even further and stopped composing completely. “I realized I had minimalized myself out of a career. It had taken ten years to reduce my language to zero but I loved the process of seeing it occur and not knowing when the end would come. By then I had opted out of avant-garde music generally; it seemed self-congratulatory and risk-free and my solution as to what to do next was to do nothing, to stop completely.” Years pass and in 1978, Budd releases The Pavilion of Dreams, a work created with complete disregard for contemporary new music and with a simple goal of being “existentially pretty, mindless, shallow, and utterly devastating.” Budd’s description is perfect and especially so on “Two Songs” (in particular the highlight “Let us Go into the House of the Lord”) which is an ode to John Coltrane and Pharaoh Sanders whose “paradisiacal lyricism was magic” to Budd. The suite is ghostly, operatic, and as aptly described – utterly devastating.

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