CD Princípios Essenciais

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most of pictures: www.mandalafotografia.com.br

The expansion of dialogue between cultures and traditions this project aims is triggered by three aspects:

I) The main one is to enhance common principles to various cultures and traditions whenever the energy of prejudice arises against any real way of connecting with God;

II) Expressing yourself through different musical styles as well as visual and poetic languages;

III) Promoting artists who also contribute to this dialogue;

In item III we gradually discover a bit more about the work of the 48 participants of the album, among them, Chandra Lacombe, one of the special guests present in 10 of the 24 tracks.

This interview is born out of this aspiration and brings Chandra’s unprecedented revelations. Get ready!

He has more than tens of thousands of fans around the world, is considered an icon of New Age and has an impressive amount of views, comments and videos shares of his songs on You tube. Despite all this, the singer and multi instrumentalist Chandra Lacombe, completes another rotation around the sun this May 24, without much impact of his career in the mass media.

many an icon of New Age and have an impressive amount of views, comments and shares videos of tub.e..

At his last concert, right after the pre-release of the album Essenciais, thousands of people were gathered in Ibirapuera Park.

If you wish to check the impact of his music, take a look at the comments on his Facebook page (www.facebook.com / chandralacombe).

The commitment to a music mainly inspired by spirituality is most likely to be an explanation for being underrated in the mass media. However, this interview seems to indicate a major turning point in his musical career.

Chandra reveals that this year has been the period he has composed the most in his career. He says that his music has now reached a peak of enjoyment that makes it able to reach the 4 corners of the planet in a more organized and affordable approach.

His style is quickly caught on the internet in 3 approaches, but they all seem to have a firm commitment to self-knowledge. One approach is connected with the spiritual development center he manages; another brings a special, sophisticated and yet popular arrangement for Indian mantras; finally, a pop approach but at the same time connected with self-knowledge, joy and devotion that are its main features. Everything topped up with the maturity reached by his band which started in 2010 and that brings Xico Leite (Esssenciais’ music producer) on the guitar, Giuliano Laurenza on percussion, Rafa Caldera on the flute, Alfredo Farné on the bass, and Mel Alleman with Nara Prem as backing vocals.

Check now some new details of his work in the following interview that brings more revelations such as a song inspired by his spiritual name Chandra, the search for melody in percussion which is the very essence of his work, besides other special and fresh curiosities.

How many new compositions were born since your last birthday and what are their styles?

These last 12 months have been the first time I’ve spent with some basic infrastructure at the country house I moved to in 2011/12 with the mission to build an Ashram with my partner Matry Surya. The fact that I’m now able to stay longer here, leading a life more connected to the essence and nature was very inspiring for composing, therefore it’s been one of the most fertile periods considering the quantity of new compositions I’ve experienced.

Among new version of mantras, spiritual inspiration and songs for the Oráculo album project, there were more than 10 compositions for sure. That has motivated us to record two new CDs that may come out later this year; one recorded live at Mahashivaratri that will definitely amaze all and is almost ready for pressing; another that has a more pop style with songs associated with the Oráculo project and two of its tracks are already in our concert setlist: “Carruagem e Ação de Graças” (Chariot and Thanksgiving).

The main objective of the album Essenciais, is to expand the dialogue between cultures and traditions and this inspiration comes from the pain of prejudice. Have you suffered any sort of prejudice against the way you connect to God? How did you deal with it? Is there any song that also comes from that pain?

At the beginning of my spiritual quest I had two initiations that were strongly characterized by its clothes: Kundalini and then Osho. And one day at a family lunch I attracted some criticism ... and you know how family is, it is always a challenge to deal with it.

The 22 arcana song “Saga” expresses my feelings when I got rid of this burden when I sing that "God is free out there" citing a contemplation of the fire when I was a boy.

Your music expresses a constant invitation as well as an example to reconnect with the essence and it mentions many traditions. When is the conflict between egregores real or an illusion?

Yes, there may be a conflict between egregores when it’s handled by a single and rational mind, disconnected with the blessings of the divine flow. Also, when someone needs forms to connect with the sacred, they end up being excessively attached to these forms and don’t believe there can be other ways to connect with love.

In this case, you must respect each person’s process and way. Pointing out common principles to various cultures and traditions, however, helps us to live toghether with love and freedom in devotion to God’s names.

Dellusion only dissolves when the essential love that springs from within comes out and brings a sense of togetherness and learning that can exist in contact with different cultures and traditions. In that place there’s no room for a conflict of egregores but to dialogue and unity.

What is the importance of the Sanatana Dharma ( universal true) principle to you?

I solemnly honor Sanatana Dharma whenever the sun rises and sets in the sadhana (spiritual discipline) here at the Ashram, along with a number of other devotional gestures. Despite being a principle of Hindu legacy, it expresses the experience of the essence that permeates different languages. The pulse of faith doesn’t need clothes or borders. The universal and timeless truth permeates all mankind.

Today, many young people exchange the first car or leaving their homes for traveling around the world. How has this contact with the 4 corners of the world influenced your perception? Traveling around the world is the best way to feel this wave of multiculturalism and religiousness?

Undoubtedly the cultural exchange helped me in that way, but I feel it comes as a program of my soul, and maybe it is not for everyone.

Even before the interchange with Scandinavia, Central America, the United States, India and others, I felt it would happen. It was programmed by the great architect.

In the booklet of arts and articles of Essenciais, there is a sentence in which you say that music in different styles can be a bridge of dialogue for peace. Could you tell us a moment in your career where you witnessed this more significantly?

There were several, but at one of the latest mantras versions in which I cite “Adonai”, “Aleluia”... it was one of those moments. In the album Meeting the Forest there is also a salutation to different saints who inspired me at some point in this dialogue for peace, at the song “Ritual”. I was inspired for this in Matutu. The mountains there and in Minas are very striking in my path.

Still in the Essenciais booklet there is part of a hymn of yours "Flor do Oriente " (Oriental Flower) associated with the principle of Receptivity. Could you talk a little more about this hymn and your perception of women's role nowadays?

Our self development work in the Ashram

has a very special emphasis on the feminine

and I feel my partner as a strong expression

of this rescue. That's a very deep subject,

there was a time where the male action

and voice often overlapped the

boundaries of the feminine.

India, for example, is a country that gives me an essentially feminine energy, Yin, expressing this lack of balance, sometimes with an affectionate behavior, sometimes with violent facts. In this way Gandhi was a symbol, using the principle of non violence on male hostility and the attempt of invasion and dominance of the English culture.

Our Western mind is very masculine, in need of a bit of openness and acceptance of the female. The passage in the hymn that says “Minha mente é um cálice vazio, onde o Manah da verdade se produz" (My mind is an empty chalice, where th Manah of truth is produced) means that my mind is in receptivity, given to the feminine as an empty chalice.

How was the song "Recado da Mãe Divina” (Message from the Divine Mother) born?

I was in my house in the neighborhood of Pompeia, my youngest child was less than 1 year old. I was soaked in the motherhood energy and in a deep personal initiation process connected with expressions of the feminine holiness on earth as mother Meera, Amma and in the spiritual field. I was taken with this song that marks a special moment in this path.

As you said in previous interviews, your relationship with the kalimba was full of intuition and self-discovery. Besides the distinguished way of using your fingers when you play it, what other peculiar aspects of this instrument were shown to you in this self-discovery process?

At the beginning everything happened in a sort of trance, I feel I was being the instrument of a great power in contact with the kalimba. I started playing it spontaneously and quickly developed the melody and rhythm of the instrument.

I had a certain

tendency to lose focus that seemed to be completely gone with the instrument and then gradually Chandra’s style of playing was born. Today there are already some people who have developed this style as Vinicius who has played kalimba with Gilberto Gil and Egberto Gismonti and Ariel (Prashanto) whose graduation paper at Unicamp (Music) is on the instrument.

I don’t know if I’ve found something besides the way of playing, but I found out what is already known about the connection of this instrument with the attributes of childhood. My music is very connected with self-knowledge and relive childhood is a treasure in this process. The timbre of the kalimba brings back childhood experiences

Is there any song you would highlight as having flourished in this connection with childhood?

There are some, I would highlight “Arcano Incompreensível” (Incomprehensible Arcana).

Besides your voice, your participation in Essenciais shows your amazing ability with percussion. In the song "É só quem eu devo amar "(It's just who I should love) and "Exemplo de brasileiro" (A Brazilian Example) an inspiring derbak; in "Se conheça com reverência" (Know yourself with reverence) and "Guerreiros Beira mar" (Seaside Warriors), a tambourine; in "Pincel Co-criador" (Co-creator brush) and "Exemplo de brasileiro" (A Brazilian Example) a marked bongo, not to mention the repinique (a Brazilian percusion instrument) of "Samba da Felicidade" (Happiness Samba). Is there any relation between percussion and the kalimba? Which ability came first?

Great question. That brings me to a peculiar curiosity about my relation with music. My first obsession at 13, was to seek distinguished melodies in percussion. I was obsessed with Asian percussion like the tabla and the derbak.I sought techniques to get different sounds by using different ways of playing with the fingers. I wanted to transform the way of playing the African Brazilian bongo.

My first experience as a percussionist was in a play at 13. I even played repinique in a samba school and did it at “Samba da Felicidade" (Happiness Samba) in Essenciais. The kalimba came later at the age of 19 and perhaps my fingers had been prepared by my previous obsession. Somehow I found the kalimba a good combination of both percussion and melody that my heart looked for.

Perhaps that has also generated the peculiar ability of singing and playing the percussion as I did at the time of the band Udyana Bandha with the tabla.

How about your voice? When have you discovered it had something that could touch so many hearts?

It began in the theater, then at high school in Rio and so on... I can not really explain it. But my music is committed to self-knowledge from the very beginning and there we have an important clue.

Was this connection of your music with spirituality and self-knowledge an obstacle to broadcast it?

Yes, this is a recent trend, but one I’ve always believed. Brazilian Devotional Music. You told me that a prominent evangelical singer is already singing in several TV programs. This is quite new. And everything that is new, takes time to grow. But now the time has come.

At the pre-release of Essenciais you were on the stage of Ibirapuera Park with the music producer, the composer and other participants when balloons with the essential principles were released into the sky as the mantra “Loka Samasta” played. If you had to choose three main principles for your students and fans to remember, which would they be?

The first that comes to me now on the expansion of an Ashram’s values is Discipline which is mentioned in Essenciais. The Ashram breathes it, we do sadhana every morning and night keeping the energy of the place.

The second is Truth, as an essence that permeates every search.

The third is Empathy, the necessary link to love our neighbor and build a true sense of togetherness.

Which songs at Essenciais attracted you most?

“Gayam” was one of the first I heard at the pre-production phase and I even said it would be a song that would inspire many people. It was one of those I participated with Nicole Salmi at the pre-release at the World Peace Festival. I also like very much “Viver em Gratidão” (Living in Gratitude), and the melody, the excitement and energy of one I sang... "Lua cheia de paz” (Full Moon Peace).

Now that you mentioned it... Have you ever been inspired for singing the hidden meanings of your spiritual name Chandra?

(laughter) Yes, there is one that expresses this connection. But it doesn’t say anything about the moon, it is entirely instrumental, called “Miramor”.

Essenciais is Xico Leite (Ritam)’s first work as a music producer. It was made at the end of his graduation. Was there anything in particular that surprised you in the musical production of Essenciais?

Yes of course, it’s already amazing the mixing with so many audio tracks, different musical styles and musical instrument timbres.It requires dedication, patience and wit from any professional. Also the challenges of capturing and the mastering process. But it’s even more amazing considering his age.

Young people learn faster today. A young man of 20 can do something better than a 30 year old adult 20 years ago.

According to astrology, when you came into the world on May 24, 1965, the vibrations of Mercury and Gemini strongly influenced you. Has astrology inspired you to recognize your potential and weak points? What song would you say is more Gemini like?

(laughter) I think any song with multiple melodies and tones (laughter). And one that is quite diplomatic. My father too was a Gemini and that was very strong in him.

How has the city of Brasilia influenced your music?

There is a special curiosity about Brasilia in a song I composed after thinking a lot about Renato Russo, and even feeling his presence before composing it. Only after that I found out he had passed away at that same time. It's called “Mares da eternidade” (Seas of eternity). Actually, beyond Renato, it’s also one of the strong signals in my path of connection with Babagi which I consider closely connected with Christ.

Do you have any special dream to perform with music?

Of course I do. I feel that now... now the spaceship will really take off. And it’s not a dream. It's a feeling that I feel more prepared. With intrapersonal issues more aligned. That will allow this song to reach its maximum enjoyment and make this work available for more people.

I have more awareness of this responsibility and gift. Of this song being a tool for the development of human consciousness.

We are designing a special studio here in the Ashram besides other works.Considering this, this year is Chandra’s year. Then it can be used in a soap opera soundtrack, a film, or wherever it can contribute and expand.