1. Enrique,

    Really looking forward to having you be a part of our Benefit Concert on Saturday, July 18th.

    Can’t wait to see you! I know that the goats are eager to hear your goat calls…

    – Chris Parkhurst

  2. Soy un director internacional de Teatro e investigador sobre antropología teatral. me ha interesado mucho, muchísimo tu música. quiero saber más de ti, comprar tu música… en fin… ¿dónde te puedo ver?

    Humildemente, David Vélez, Spain.


    Ch’ien / The Creative

    The Dragon stirs within its cave
    Coils shifting, cloud-hidden,
    Dreaming of the Pearl.
    The dragon at rest beneath the earth
    Bides its time within the maze
    Honing the vision
    Rooted deep
    Concealed light pulsing in the dark.

    Uncoiling, leisurely and bold
    He breaks through the clouds
    Releasing rain.
    The rain does its work;
    The rivers uncoil
    Streaming in sure lines toward the sea.
    Lions drink there and Lambs,
    The Midwife and Hangman.
    In the open now, eyes rolling,
    He knows the nearness of the Pearl.

    No longer in the field,
    Not yet in the heavens,
    The Dragon turns and turns
    Perfects his timing
    Talons flexed
    Black cleaves white
    Stroke by stroke, note by note
    Cutting clean –
    One false stroke and all is lost.
    The Pearl glows, just out of reach.
    Surefooted, he treads the chasm’s brink,
    Surrenders his foothold on the earth
    Stepping into the silence of uncharted space.

    The Pearl rolls and turns
    It revolves in opalescent bliss.
    Radiant and unalloyed
    The Dragon wings across the sky.
    Gods and Demons aid his going forth.
    Vital and imperative
    He swims up the River of Heaven
    Tail lashing, bearing down on the Pearl
    The Prize
    The Jewel.
    He grasps it
    Encloses it
    Penetrates it.
    It grasps him
    Encloses him
    Penetrates him.
    The Mystery unfolds its petals of flame,
    Heaven Earth and Man locked in accord,
    All beings flow into their rightful forms
    Their appointed destinies.

    It is complete,
    But still he climbs in dizzy spirals
    Clutching the burning orb.
    Blinded to danger by the Light,
    The Dragon, prideful, loses touch,
    The times no longer in tune,
    Resonance broken,
    Melting like faithless wings of wax.
    He is turned back,
    Circling back, a wheel turning,
    Biting its own tail,
    The Pearl a circle dropping away
    Wheeling through stars
    The Dragon dropping back
    To the Cave
    The Source
    The Root,
    Coiled and dreaming now
    In the silence of the maze,
    The dreaming ground where visions form again
    Like pearl around a grain of sand.

    Pi / Grace

    The Light
    The Light on the Mountain
    On the snow on the Mountain
    Fire and Ice –
    Fire that flows and clings
    Like the scarves of apsaras
    On the walls of Tun Huang.
    Ice, still and clear
    As the face of Buddha
    Hewn from the cliffs of Lung Men.

    The artist paints the sound.
    His breath forms the lines.
    Fire and Ice:
    The burning eye
    The cool control.
    The form unfolds
    Like the map of a new continent,
    Its plains and elevations
    Charted in ancient notes
    Only the master cartographers can read.

    Or a piece of the Moon
    Fallen to earth
    Numinous and singing,
    Chang-O still clinging to it,
    Her form laced within its folds,
    Her Light articulating the vaults
    Within the Mountain,
    Lighting the artist’s path –
    A gift of Grace
    So that he may shape his vision of perfection.

    Ting / The Cauldron

    In the closeness of his cave
    The Shaman lifts his torch;
    Smoke burns his eyes and lungs;
    The sparks burn his hand,
    But there is light
    Alive and moving on the wall,
    His blood moving with the magic in the wall,
    Drawing down the power of Birth
    The terror of Death,
    The secret images within the wall.

    In his earthen lodge
    The Diviner forms a question, asking,
    Asking the Oracle . . .
    The only Question.
    A row of pictures burned into the oracle bones
    Line by line, note by note,
    The question cracking open,
    Forming new lines,
    Another picture: The Answer –
    The workings of Heaven laid bare
    Beneath the point of a heated blade.

    In a vaulted temple chamber,
    Pillars carved with cloud-borne phoenixes,
    The priest feeds a wavering flame
    Beneath a cauldron of bronze.
    Open to Heaven,
    Inscribed for eternity,
    The vessel glows with heat and light
    And staring eyes of horned beasts and coiled serpents –
    Wide unyielding eyes
    That lie upon the priest like a shroud.
    A mask of the imperative,
    Their scales snake and turn and change
    In the act of becoming . . .
    A barbed tail; then an outstretched wing –
    The beast’s black maw
    Now the raptor’s gaping beak.

    The priest blows upon the frail flame.
    Gentle wind – Fragrant wood – Clinging fire
    To lick the belly of the crucible,
    Within its womb the Sacrifice:
    Tiger’s eye – golden jungle of tangled light;
    Eagle’s heart – airy, rolling in cloudy peaks;
    Spider’s hands – shaping mazes, weaving webs;
    Black goat’s silken balls – dark with unspeakable dreams.

    The fire rises.
    An alchemy begins,
    Base elements transformed:
    (Pure poison to its flowered core,
    Refined, the belladonna yields healing.)
    The Carnage of body & blood
    The Medicine of bread & wine
    Filling the Six Directions, the Six Realms,
    The muffled layers of the rose,
    The chambers of the human heart.

    Within the ritual
    This liturgy of line and song,
    Of light and shadow,
    The universe breathes,
    Its order maintained.
    And we hear once more
    The plangent singing of the stars.

  4. Enrique~
    The howling winds of Astoria welcome you in mid-January to create ritual where the river meets the sea. And what a perfect place- a haunted, historical theatre that provides an entryway to the underground tunnels here (www.columbianvoodoo.com )! When you and your mates come we can have a salmon feast and say hello to the ocean…

    Con mucho amor,
    Jessamyn Grace

  5. The most mystifying and sono holographic experience I have ever had. Thank you for the blessings, this is the next step above Tibetan throat singing, in every way. Selah

    Portland Oregon

  6. this is beautiful! i love danse perdue, and i love soriah, and wow! i’m glad i took a minute to check this out. i’m going back to watch and listen again. thanks for sharing!

  7. Hola Enrique,

    Richard is here, greetings from Slovakia, Europe!!! I am trying to reach you through your e-mail address published on your website, so hopefully we can get in touch. Thank you so much for your magical, evocative and mesmerizing sonic visions!!!

    All the best and have a nice time.

    With friendly greetings, Richard

  8. Here is my review on “Atlan”:

    Soriah with Ashkelon Sain “Atlan” CD

    The Mexican-American ritual performer, musician and trained Tuva throat singer Soriah aka Enrique Ugalde has teamed with recording artist, producer and composer Ashkelon Sain (Submarine Fleet, ex-Trance To The Sun) back in 2009 for this truly unique, exotic and adventurous journey. With three previous releases on Soriah’s credit, “Atlan” is by far of the giant caliber. This album masterfully bridges ancient and modern, various exotic stringed instruments from Tuva Republic (Southern Siberian part of Russia) are used, like igil, byzaanchy (both bowed) or doshpuluur, plus more traditional instruments or objects like shruti box, clay flute, bells, conch, whistle… plus synthesizers, electric guitar, drums… plus “creme de la creme” of this album, Soriah’s highly expressive and mesmerizing voice and Tuva throat singing, with lyrics in Aztec language of Nahuatl and two vocalizations are traditional Tuvan chants. Soriah’s voice is definitely another absolutely unique instrument on this album. “Atlan” opens mysteriously and stunningly with instrumental and buzzing stringed performance entitled “Yoallicuicatl”, great overture! Then follows “Cehui”, brilliantly merging electronics, tribals and Soriah’s voice magics into a composition that is, for me, one of many highlights and ultimate classic ready for Hall Of Fame induction!!! Muchas gracias, amigos!!! “Tonacayotica” is again dominated by Soriah’s voice, where raw vocals interfere with whispering ones, and gentle mid-paced tribal rhythms and relaxing trancey tempos, all together perfectly boiled and balanced. Shorter “Temictli Atlan” is painted with strings and washes. “Citlalpol” is another instrumental piece, based around solo performances on bowed stringed instruments, have no idea which of them exactly are used, however, they sound highly expressive. Later the texture becomes more layered and active. “Xopancuicatl” is the most active, but very light composition with tranquilly melodious tempos spiced by voice wizardry of Soriah. Truly mesmerizing efect due to amazingly collided warm atmospherics, crispy rhythms and raw voice, another top notch contribution elegantly blending the past and the future!!! Title track “Atlan” belongs to deeply mysterious and ritualistic compositions on the album showcasing the power and mastery of Soriah’s throat singing (one of the traditional Tuvan chants). A true shamanistic listening experience at its finest!!! But it all goes even beyond, “Morguul” is one of the highly active pieces where rhythms, melodies and voices create a truly unique blend that can be described as kind of “western tribal ritual ceremony”. Man, this is really unbelievable and absolutely phenomenal!!! And the end is not here yet… “Borbak” gets much deeper with tranquilly floating atmosonics, significant flutes and whistles and deeply evocative voices, another giant on this journey! Instrumental “Tona Atoyaatl”, that keeps on slower and darker route, with enormously imaginative crying bowed fiddle strings (igil or byzaanchy?), is as much graceful as its predecessor! And just the same can be said about the closing 12+ minutes hypnotizing opus “Amo Cahuit”, the darkest droning piece on this 76-minute long pure blissful sacred inner journey!!! Soriah and Ashkelon Sain are true shamans, with “Atlan” at the very top of their virtuosity. Even if sounding totally different with their own, distinctive soundscaping and voice, I think late Jorge Reyes would be really proud to hear and see these guys. Yes, if you have a chance to catch them live, don’t miss them, extraordinary lifetime sonic and visual experience guaranteed!!! Last but not least, new “Eztica” album is scheduled for release in October 2011 on Projekt. Now the question is how Soriah and Ashkelon Sain can top “Altan”…? I will tell you in few months. Until then once again, muchas gracias, Maestros, for taking me on this wonderfully rich, breathtaking and unforgettable sonic exploration!!!

    Richard Gürtler (Sep 03, 2011, Bratislava, Slovakia)

  9. I was just at your Seattle show and had a fabulous experience. I’ve got a couple of your cds and am looking forward to getting your newest one sometime next month. Thank you so much for coming and offering such a wonderful and truly magical performance.

  10. Just received “Eztica” CD, absolutely exciting and highly imaginative sonic adventure, another milestone from Soriah & Ashkelon Sain, muchas gracias, amigos!!! My review on “Eztica” will follow during the coming weeks. Until then, all the best and good luck with your tour!!! Your big fan from Slovakia. Richard

  11. Here is my review on “Eztica”:

    Soriah with Ashkelon Sain “Eztica” CD

    Enrique Ugalde aka Soriah with Ashkelon Sain return with their brand new journey entitled “Eztica”, their second album on Projekt, and follow-up to their phenomenal “Atlan” from 2009. “Eztica” unfolds with euphoric and high-spirited “Iix” freshly blending energizing tribal percussions with gothic-infused Ashkelon Sain’s guitars and Soriah’s highly suggestive vocals, with lyrics, same as on “Atlan”, in Aztec language of Nahuatl, all that backed by gorgeously floating grandeur washes. Absolutely magical, blissful and unique overture, amigos!!! Shorter “Ticochitlehua” dives straightly into deeper and mysterious primordial terrains with Soriah’s whispering voices. Title composition “Eztica” opens with heavenly drifts and wordless voice magic and prayers with native feel, later more explosive textures invade along with Soriah’s Tuvan throat-singing wizardry. Amazingly adventurous interactions of the ancient and the modern!!! Dark ritual “Nica Anahuatl” is finely enriched with choir-like sounds, various bells, percussions and deep organics. Bowed strings, flutes and expressive voices lead “Ehecatl”, another deeply evocative genius performance!!! Shorter “Chocatiuh” blends rainy sounds with ethereal guitars and bowed stringed instruments of Tuva. Strong Ashkelon Sain’s darkwave ingredients on “Ximehua” are masterfully melted with hypnotic tribal rhythms, voice magics and bowed strings to capture purely ecstatic goth/shamanic sonic experience!!! “Temicteopan” is the most exotically fragranced composition with significant fragile string magics and Soriah’s whispers, a deeply mysterious one, blending Aztec and Tuvan musical traditions!!! “Xiuhcoatl” is another energizing and rhythm-infused masterpiece with all Soriah’s and Ashkelon Sain’s trademarking ingredients, it showcases again highly effective interplay of grandiose vocal performance, dramatic percussions and imaginative atmospherics, definitely one of the most highlighting compositions on this ride!!! Deeply evocative instrumental “Omeyocan” blends echoed nostalgic strings with suggestive native flute work. Field recordings introduce “Amochantzinco”, where orchestrals are supported by hauntingly beautiful vocals, percussions, guitars, bowed strings and flutes, all uniquely melted in fresh palette of sounds and atmospheres, a truly majestic closer!!! The flow of this exotic sonic universe moves through many emotions to touch listeners deeply, “Eztica” is also more accessible due to its stronger darkwave approach when comparing to more mystically and ritually spiced “Atlan”. To me, “Eztica” most likely doesn’t top “Atlan”, but it gets very very close to it and it grows on me with each listening session. Fascinating, galvanizing and magical sonics effectively join the cultural roots of Aztec and Central Asia with the present, all that portrayed by stunningly eye-catching artwork, one of its kind sonic and visual adventure!!!

    Richard Gürtler (Oct 16, 2011, Bratislava, Slovakia)

  12. Hola David! You quiero regresar a Espana proximo Octubre. Es posible cantar en su teatro?
    Muchas Gracias!

  13. It was a pleasure to be introduced to your music and meet you last night. I hope to be able to see you perform again soon.

  14. Hola Enrique!!!

    Greetings from Bratislava in Slovakia, Europe!!! I am very interested to order your “Eztica Tour Collection” CDr. Please let me know how to purchase it, I can’t miss it!!! I really hope some copies are still available. Thank you so much, all the best and have a wonderful autumn time in Portland.

    With friendly greetings, your big fan Richard

  15. Enrique – You my good man are a living treasure both nationally and internationally. Having seen you perform live several times now I consider each of them special. A real treat that I’ll remember for the rest of my time. I get goosebumps, no, chills throughout my being when seeing you perform live. Thank you for sharing with us locally and the world at large the very special gift of auditory and visual art that you make. Truly one of one. Blessed be you and yours.

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