Stations of the Sun was composed in the spring of 2020 after returning from travels through Europe, the Middle East, and North Africa. The five tracks form a ritual soundtrack to a journey which became an inadvertent pilgrimage to view the rising and setting sun from ancient sites of historical significance. These compositions are some of the most diverse in Sky Burial’s voyage of sonic transcendence.
Sky Burial was formed by Michael Page in 2006 inspired by kosmische, electronic, and industrial artists of the late 70s and early 80s. SB’s recordings often cite esoteric, literary, esoteric, metaphysical and mythological subject matter as muses.
Michael has released more 60 recordings since 2014 under various names and has collaborated on releases with Nik Turner (Hawkwind), Jarboe (ex-Swans), Anni Hogan (Marc Almond), Troum, Danny Hyde (Coil), Nigel Ayers (Nocturnal Emissions), Bridget Wishart (Hawkwind), Mark Spybey (Download/Dead Voice on Air/Zoviet France), Johann Eiriksson (Reptilicus, Gjöll) Nik Blinko (Rudimentary Peni), Robert Williams (SIEGE), and J. Randall (Agoraphobic Nosebleed) as well as album production by James Plotkin (Khanate) and Justin Broadrick (Godflesh, Jesu) and cover art by Gee Vaucher (Crass) and Nick Blinko.
‘The Forcing Season: Further Acts Of Severance’ is the the sixteenth full-length release by Sky Burial. These recordings see the project’s compositions shift into a new phase with a series of shorter, more complex, and eclectic tracks. While still drawing inspiration from the same acts and and genres that inspired him to begin creating as Sky Burial, Michael has favored experimentation over imitation resulting in an album that defies pigeonholing.
Sky Burial is Michael Page, a visual and sound artist dividing his time between Cape Cod, Belize, and England. After several years recording and touring in the power electronics/industrial/noise genre as Fire in the Head, Michael formed Sky Burial in 2006 as an outlet to explore the ambient and experimental sides of industrial music, often citing esoteric, literary, esoteric, metaphysical and mythological subject matter as a muse. Much like the Tibetan ritual from which the project takes its name, the Sky Burial moniker was chosen as an act of cleaning the slate, to be pulled apart and dispersed providing an unfettered route for sonic expression and experimentation. Although initially inspired by early industrial music projects and electronic/ambient/kosmische acts of the 70s & 80s, the music of Sky Burial continues to evolve, creating a grey area between genre boundaries.