"A telepathic sound journey aims at the stars and is more likely to travel to some exotic country." Mats Gustafson, Broken Face
"If you've got a yen for the kind of albums that record stores file under "other" after throwing up their hands in frustration trying to figure out how to even vaguely classify it, Eric Dahlman's Ripped Echo might have your name written on it. Dahlman plays trumpet more than any other instrument, but also handles flugelhorn, Tibetan bell, hunting horn, "pinecones," harps, flute, whirling drum, and numerous other instruments. He's just one of the participants, however, in a mix also including various other musicians on quite a few other instruments, from violin and bass to lobster pot, accordion, water dipped gongs, lap steel guitar, mandolin, throat singing, and electronics.
As to what his style is, that's hard to say, both because he combines and echoes so many forms, and because those forms and styles change considerably from track to track. Very, very broadly speaking, he's working in the fields merging jazz and contemporary composition, though the traces of Miles Davis, Jon Hassell, and Louis Armstrong quickly give way to or get mixed into stormy ambient passages. Usually somber in mood, there are also meditative reflections of non-Western world music, exotica, ritualistic chanting, and even brief oddball tunes with sung lyrics and female vocalists. In those senses it's a dreamscape in not following any set patterns or conventional logic in its progression, but one that -- unlike many consciously eclectic, largely instrumental soundscapes -- owes absolutely nothing to new age music. The tone is far more unsettled and vaguely uneasy than soothing, though rarely noisy.
For a small-label release, it's a mighty impressive effort, both for its ambition and the high level of production and performance."
There is a softness to DAHLMAN’s music that belies the capital letters. Yet the compositions are far too cerebral to be considered “new age”, despite the various sound-scapes and evolving rhythms. Eric Dahlman’s trumpet playing is the centerpiece of the album, like a haunted version of Cuong Vu’s recent body of work. Each song revisits the skills and sound of this thoughtful musician along side the likes of throat singing, Tibetan bells, and warm reverb beds. Ultimately, Co-Producer/Engineer Mike Mayo’s description of Ripped Echo as “the soundtrack for an unwritten film” is most fitting, a testament to the music’s power of evocation and life-like dynamism.
Many artists claim their work is hard to describe, but Ripped Echo is truly a unique listening experience. Co-Producer/Engineer Mike Mayo describes it as “soundtrack music for a film that does not yet exist, combined with jazz and sprinkled with slightly evil meditative yoga.” Eric says ”something .....more trumpets etc.....”
All of the diverse compositions on Ripped Echo are held together by the trumpet playing of Eric Dahlman, who provides continuity throughout the various sound-scapes and rhythms that evolve.
“Ripped Echo” is throat singing, Tibetan bells, and Chinese wood blocks; without resembling “World Music”. “Ripped Echo” is reverb beds, chanting, and nature sounds; without resembling “New Age Music”.