With America’s continually-growing interest in Eastern arts and philosophies, finding a natural synthesis can be challenging. The two polarities are at such opposite extremes, much is lost in translation. Yet once in a while such harmony emerges that there is no doubt something deeper than superficial, surface layer comparisons exist. Selwa is one of the most enjoyable of these to date. The follow-up to 1997’s Cho, Minnesota-based guitarist Steve Tibbets (a minimalist player by nature) again joins Tibetan Buddhist nun Choying Drolma (a philosophical minimalist by nature) and lays enchanting melodies beneath heartbreakingly beautiful vocals. The sheer weightiness of “Pal Rangjung” instantly casts a meditative nuance to the listener’s captive ears. Upon learning the meaning – “Powerful blood drinker, glorious vitality/In the land of Yama, you are Ekajati/Fire eater, blood wearer, wearing the naga emblems/Kali, the Blood Dripper, I praise you” – a completely new take unfolds. The softness of Dromla’s tone does not work against the lyrics. But rather seeks beauty in (seeming) evil. Unlike Western philosophy, which pits good against bad, no such rift occurs in Drolma’s Buddhist understanding. Throughout Selwa such lila (play) exists. The unties human and physical before reuniting them in song: that is, her deconstruciton of the illusory world (maya) never conflicts with the passion with which she equips each song. After recording Drolma’s lyrical meditations in Tibet, Tibbetts and percussionist Marc Anderson – a brilliant third addition – returned to America to mix down one of 2004’s most gorgeous records. Tibbett’s water-like serenity plays perfect partner to Drolma’s quiet fire. Finder of the Arya Tara school – founded to offer local women a proper education amid a gender-challenged society – Drolma’s music, as her entire life, is meditation in movement.

-DB