Ep.59 Masterplants Symphony with Tritone Crisantemo

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Welcome to Reconnect with Plant Wisdom. I’m your host, Tigrilla Gardenia, nature-inspired mentor and leadership coach. In this podcast I share ancient and modern knowledge from biology to spirituality about the wonders, ways in which plants can help you lead a naturally-conscious life.

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Hello! Hello! Hello! Everyone! Welcome back to another episode of reconnect with plant wisdom. It’s me Tigrilla Gardenia.

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And this episode is going to be

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so much fun, so much fun. You’re gonna have so much fun. So I invited a good friend of mine, Tritone to come and share with you his amazing plant music Project Masterplants Symphony, which

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started off with this

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super unexpected collaboration that we did in Copenhagen many, many years ago. But I’m not going to spoil any of the fun, because this was there’s just so much about

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plant music and about transformation and about, you know, really entering into your plantness through mute there, there is so much in this episode. So without further ado. This is episode 59. Masterplan symphony with Ritone. Enjoy?

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Hello, Hello, everyone!

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Welcome! Welcome. I am

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Ok. We were just giggling before we started this, and I have a feeling that you’re going to experience us giggling the entire time, because that’s just kind of the way that we are.

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I am super excited. I have with me here, Cri Santemo, who is a very good friend of mine. Well, at least we were saying he used to be a really good friend of mine. He’s been traveling for a few years, and he’s finally come back to Dom and her back home.

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and

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and I used to live together in the same nucleo home. So there’s just so many things that we can go to. But today, we’re specifically going to talk music.

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Oh, yeah, we’re gonna talk about music. We’re gonna talk about plant music. So. But before we even get there.

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who is? Yeah, that’s a lifelong question. This moment he is occupying him occupying himself with plant music, traveling the world. I’m a citizen of Dominur. I’ve been living here since 2,010.

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I’m originally from Denmark, and I studied sound engineering. I’ve always been in the world of music and

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in Damaner. When I came here I became sort of the guardian or caretaker of the sacred forest that is here, and I lived there for a bunch of years, and that sort of 1 point just melted with the, together with my musical aspirations. And that became this crazy plant music project that I’m now a part of. I’m the human part of a plant band. And I basically

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go around the world. I travel around and drag cables around. And for the plants for the piece of plant roadie. Yeah, that’s it. That’s what you are. Your plant, Rody. That’s my thing, my plant, Sherpa. And then

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then we set up the gear for the plants to be able to play. We’re gonna get there. We’re gonna get there, because because this actually has a great birth story, which is the fun part of all this right? So Didona and I used to live together in the sacred wood temple. As it was turning into a temple, so really this magical he was there before me in the in this beautiful Treehouse village.

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Super magical kind of it’s indescribable, I think. I think even today it’s not the same as it was when we used to live there. I was just talking with some other friends of ours about this exact same thing, because way back in that time period this transformation was happening in the woods, and I think all of us were sort of being pulled along by the plants

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in ways we we couldn’t have imagined. Yeah, for sure. In that aspect it changed all of us living there in that period. It did it really, really dude?

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Somehow, working with nature, all of us.

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which is fun, which is interesting because many of us actually, I was thinking about this because you, me Mouflane, we were all city folk. Yeah, we were all city folks, I mean Amsterdam, Turin, Copenhagen. Like Miami, we all came from city environments, and here we are living in these woods.

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and not even realizing just how much the woods were living us there for sure, changing us profoundly. Really, so much.

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I’m gonna I can tell you so many things about his complete background, and I can ask him to go. But we’re gonna kind of jump into this period. So in in there was a period when we were living together where I got invited to Denmark to do a presentation

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at that time. Your brother, who is a musician also right? And we were called up his brother, and I was like, and I called through, and I’m like Dude Donna. I’ll pay for you to come with me if you’re gonna help me at the booth with. I was doing a plant music back then, with the music of the plants presentation, if you help me and I have to do 3

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hour-long presentations.

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did you? I did 3. You only participated in 3 h, long, hour-long presentations. So I had to do 3 of them. And it was this really amazing concert. It was one of those bodymint spirit type of events, and they asked us to. They asked me to come and to do these presentations in these 3 h. Long presentations

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as well as to do a booth and stuff like that. So Dadona comes along with me, and I’m like, and Donna starts going. We should do a concert for like 6 years. I’m gonna call my brother. And we’re gonna get these musicians. And we’re gonna do this concert. And I was like, oh, this is great. Yeah. I mean, Dom and her have done concerts in the past. But this was like.

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we were like, Okay, we’re gonna do presentation, then concert, then presentation, then concert, and then I’ll close it up with a presentation. So I’ll explain what the music of the plan says, and give them the history of it. Then, you know, we’ll have a music so people can experience it. Then

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we’ll do kind of like a description of the science and blah blah blah. Maybe answer some questions. Then we’ll do another concert which will get in there, I mean, like another piece of the performance. And whatever

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take it away. What happened? Well, what happened was that all of a sudden I was called on stage totally unprepared to talk by you, and that sort of

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broke the whole

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thing right open from since that day. I I was kind of in the spotlight of plant music, and I didn’t know at the time, but you really opened up that that sort of whatever your experience is, it’s her fault. And it was an amazing concert. I mean, I don’t think I mean, I know you’ve had. And and we’re gonna include clips

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of, you know, tutorials, concerts nowadays. And there are like, Yeah, there’s something that concert has. I had something special. There’s it’s actually on spotify. We’ll queue it up and we’ll play it in. We’ll we’ll mix it in throughout.

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It’s called body, mind, spirit. I think they call it in the end it’s very beautiful. So I ended up on stage, and I had to talk a little bit about what we were doing, but the real stars of that show. I think it was an orchid orchid, and then who was playing music. And then we had a wonderful jazz musician called Emil Savari and my brother. And who else was there was a guitarist, a trombone player?

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I don’t, and I don’t remember their names. And then your brother, who was playing Jim Benji, was playing so percussion.

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And then Emile, who plays piano and Emil and all of these were amazing jazzers. So jazz musicians have a very

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special kind of connection to each other, and they immediately connected then to orchid. Yeah, so jazz musicians are fun in plant music context because they improvise.

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They’re good at improvising, which is good, together with plans who are seemingly sending out random notes which they’re not. But

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this is also kind of little bit what happens in jazz? I guess it’s not random, but it sounds it. They have the the skills to listen and respond to what’s going on. And that made that concert very, very special. Yeah, especially since the first part of it. We did it. Using, you know, traditional sort of key signatures. So you know, Major key signatures.

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Then for the second half, Emil’s sort of obsessed with chromatic scales and with like

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non- sort of traditional sounds. And so the second part of this concert, he did it all in chromatic. So basically, if you’re used to listening to most music, it’s in a major scale. You maybe have a minor where it sounds a little bit more sad.

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Imagine that you have no limits like he was using all this atonal type, just using all the notes in the piano, not limiting yourself to a specific number of notes or keys or scales that was pretty wild, I think, that got censored out on the spotify

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an amazing concert, not just because one we had like 100 people there, and they were blown away.

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but it gave birth to a very important project. What happened after that? Well, the project? It gave birth to us masterplants. We didn’t know what was going to be called at the time it was called Love Revolution. When we did it. The first name was love revolution.

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We didn’t understand what it was, I think when we started it, I would.

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What happens with many things?

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But then my brother and and Emil, they got a plant music device because of we gave them a device because of a collaboration. They came to Dominer and did a CD based on

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different music project, but based on diamond Hurryan culture about the sacred woods. We did a CD.

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Part of their payment was a plant music device.

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which then they took out and started doing some concerts and stuff like that. And, mind you, it’s these devices just had one plant, so you could play with one plant, which was very nice, very distinguishable in the music. And then they played as human musicians with that one plant

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for some concerts. Yeah. And then you you, I think you ended up getting a few devices in the end the group as masterplans. Yeah, I think I was prototypes going as well from, and I remember that there was like certain musicians they started playing with a Basil plants. Yeah, that’s fun to hear about as well. So we ended up doing. And they ended up doing a a bunch of different experimental music which

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when you hear it now and you don’t know the context, it sounds like, really weird, like these are really the that’s really the birth of plant music, at least in our context, and they use drum machines, and they used like Viking instruments. And they

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there was a Viking. There was a Viking. I have that they had like a medieval group going on this week, I will include there’s a link to one of those. I think I have a link on my Youtube co-founder look for it.

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And then the

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tried to play plant music with different musicians to discover like, how would different human music humans? Sorry. Yeah, I think there was like 3 or 4 plant musicians that they were trying. They were working with long term. And then there was like 4 or 5 human musicians, that kind of kept rotating kept rotating. There was a Bassist, an exceptional violinist as well, who is classically educated, who always, who always claimed not to be able to improvise. But what she did with the plans were was unbelievable. That’s also on the spotify. Yeah.

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on the same album, I think

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him.

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which is sort of a collection of the first experimentations, and it sounds very weird. Some of it is is kind of like kind of blue, like old, like weird jazz records and stuff like that.

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But in

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that ended up becoming master plans, and my brother ended up coming back to Domino and say, Hey, can’t we do a plant music device that has

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that enables more plans to play music in order to

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have more of a plant band? And then, instead of having more humans, and then one plant, then we have more plants and less humans.

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And

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we were then able to construct a plant device

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on the same principles, and that measures the plants in the same ways.

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and then it had up to 8 plans that we were able to connect.

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At that point, Emil and Benjamin. They sort of stepped back, and

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I somehow ended up with the device traveling around India and hold on. Let me yeah. So in case in case I should have said this from the very beginning, in case you’ve never heard anything that we’re talking about, the music of the plants, which is the the original device we’re talking about is you’ve heard me talk about the music of the plants multiple times, right? So we’re just gonna take a little bit of a break, and we’re gonna talk for a second about the music of the plants. Good idea!

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I think we can all agree that music is the true universal language. In fact.

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what we think of as language is actually musicality, and I would argue that plants may be the greatest composers of all.

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By using the music of the plant’s device, plants are now able to share their healing and communicate with us in a language we can understand.

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Music of the plants now has different devices to experiment with. Whether you’re a musician looking to play along with your plant friends, a healer who wants to enhance their practice, or simply curious.

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In the show notes you’ll find a link to purchase the right device for you

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such as this bamboo m.

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There are also all sorts of fun extras, such as downloadable interspecies, music and plant music merchandise.

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So click on the link to the music of the plants in the show notes to discover how you can start making music with your plants today.

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So now that you have an understanding of music of the plants

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is where it gets really where it gets really interesting, because the thing about the music of the plants is that specifically, the music of the plant’s device of all the plant music devices, which was the one developed here at dawn, and her is the one that’s closest to the plant, and in the sense that many of the other devices were originally built for musicians, so they have a whole series of constraints

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where the musicians you mean for users, for the no more musicians, like some of the other ones, were made for specifically for making music. Yeah, type of thing, even though it’s one plant. But the idea is like it always has to really sound nice, because it’s made for for music. Yeah, in that sense, yeah. Instead, the music of the plants.

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which most people will say, sounds kind of alien, is a little bit on purpose, because it was designed. It was co-created with the plants, you know, when the original people who were working on it like a milant and stuff like that. It was really co-created.

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And master plans. Kind of is an evolution that brings

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both of these things together, because the underlying technology kind of has those roots because of you because of being the dominur because of the connections that you have with dominur, and such has those roots in. Let me try to be as

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you know. Let me give the plants their experience, while at the same time you’re creating a device that makes it also possible for the plants to very much interact with humans in a way. And we had this conversation the other day, which is that. And and I’ve been saying this for years. You know, plant music is going to evolve in multiple ways. It has to sort of pass

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through the human interpretation of music. You know we have these scales, we have these

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keys. We have all these things we’re used to hearing, and when it’s not constrained to a certain extent.

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When the plants can just be 100% plants, we just think of it as weird. And a lot of people don’t. Necessarily, you have to really be connected to step into that weirdness in a good way. Yeah, for sure. And so the music. So I’ve always said that for years. We’re going to probably have like devices that sort of allow plants kind of like any musical instrument, whether you’re talking about a guitar or a piano or whatever has

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constraints. Right? I can use only certain notes. There’s certain intervals between them. There’s all these things. So the device does the same thing. That’s why it’s a musical instrument for plants.

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And so

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it feels sometimes like the like master plants. The device that you’ve been creating over these years is that hybrid where you’re giving the plants sort of their space.

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And because of your connection to the plants, you you know that the plants kind of want to take that space in certain ways.

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while at the same time

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you’re having a concert and concerts to humans have rules.

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Right? It has a certain types of things that you have to do. How has that been in the creation mode like when you’re working with the plants? Do they ever yell at you and be like, can I just do my own thing?

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There is some funny story there, of course. Of course this is the realm of I wouldn’t call it mysticism, or but it is an interpretation also, and also where you.

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as a human, you have to trust your own experience with the plants, because

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a lot of us, as you also probably talk about it. We see them as objects, or we’re not even aware that they’re around. And so there is this sort of sensitivity going on, and you have to sort of trust that ability that you have.

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And then, in the context of our devices, in our music

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like our device sort of

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pulls you in to think about also how how the plant would react in a musical context. As you say, we can give them a lot of rules. And then it’s going to sound like a human thing, or we can give them free range.

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And then it’s gonna be sounding really alien and kind of could be uncomfortable to some people as well. So at one in one part we have. So we have these 2 extremes of control or letting go, and and and also the the pleasurability, I guess, of the of the music. And then we have the technology in between that that has to sort of

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bridge, both because

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for us and our project, this is about creating that bridge, and it’s about

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getting plans into the musical world, or to to express themselves, and then getting humans to open ourselves to what the plans are doing, and also to start thinking about like, how are their processes

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during the music, and what’s going on and so on. So it’s sort of over time you started really change into like you. You kind of become a little bit plant, I guess I mean that’s as your plan, I mean, and I don’t know. I don’t know if you notice this, but I notice it, because it happens to me all the time, and we talk about it all the time, which is, as you’re trying to explain, that

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the words become harder to find, because you are tapping into that plantness you are tapping into your vegetality because your

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you have, I mean.

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like you, we’ve all seen a lot of different kinds of plant music concerts. And you can see, you know, in the sense that we’ve seen a lot of where

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you can see where the musician, the human musician.

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struggles. I did a concert. Once I facilitated a concert. Once in Bulgaria, where we had this violinist, a classically trained violinist that was playing with a pianist and accompanist.

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and she knew, going into this that it was supposed to be. We had 4 plants playing, and it was in a beautiful gem museum, and she knew going into it that plants are what plants are. This is how they play.

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Couldn’t get out of her training of. I have notes on a sheet of music, and I’m supposed to play those notes, and we kept saying to her.

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Stop for a second and give yourself space to really feel into it. But you struggle with that. So we’ve all heard those people that that just can’t seem to let go of their humanness enough to let that plantness resonate. And, like you said that bridge that happens between

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my humanness and plantness, and I allow my plantness to kind of tap into the plantness of the plant, while the plant is also tapping into humanness, because that’s the reason why the plant knows and how the plant knows human notes. And the way that we consider you, it’s this dance that has to happen, and that dance goes beyond the words that we normally have, because you’re you’re tapping into other parts of yourself.

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it becomes kind of esoteric for me. I’m not a scientist in any way. So for me, I just like to call it sort of mysticism or spirituality, or some

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it’s woo stuff. But yeah, kind of foo full woo kind of thing. But I mean.

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it’s it’s a matter of perception. In the end you have to trust what what it is that you perceive, and there are a

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also instances of collective perception where I, for example, have mentioned, we’re in a plant session, and I disregard the plant in some way. We were like 2, 3 people there. And I said, oh, yeah, but the plant is just here giving out signals, and we can just

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do anything we want. And then immediately, all 3 of us, we feel like bomb like, what what are you talking about? That’s not how it is. I’m here doing a bunch of stuff you don’t get to disrespect me while we’re doing this so. And and this was an experience that was shared by all the people in the room. Which was it? Just kind of

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mystic, or I don’t know what it is intuition. It is a way that we somehow receive all 3 of us, a collective intuition that the plan is communicating

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this to us that I was not being very respectful to it. So also in the music it happens, as you say, some people, they can be kind of rigid in their

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person, musical personalities, as some people can also be rigid in their

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in their person, and they’re listening, or the way they express themselves, or like that. And the same way, musicians, some musicians can really gel into that vibe, and then then it becomes some sort of otherworldly

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vibratory, complex thing which is just so beautiful. And here’s a strange question for you. Now that you’ve traveled, I’m the queen of strange questions. Everybody go so now that you’ve strange answers.

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Now that you’ve traveled a bit and you’ve played in India, you’ve spent a long time in both India and Africa recently. Do you find that

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as you meet people and start to introduce the the plant music is it?

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Are there, I guess. I guess the question I’m asking is, are there cultural differences like. Do you see that there are some places that you’ve been to where it’s easier for the people to connect into what the plants are doing? Do you find that it’s still a very individual thing?

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Do you find that some cultural, maybe music makes it easier for people to accept the plant music like, what do? What have you seen is, if any of differences? Yeah, well, I think actually, I think that the European countries are most susceptible like to to these things right now, because we’re in in kind of a state where we’re talking a lot about the Eco wave and green technology. And

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we’re waking. We have all this abundance. But now we’re kind of craving to go back to nature and stuff like that. So Africa, for example, people need food and they need work. They can’t worry too much about the plan music, or I was accused of. They were like at the concerts they were like, oh, this guy! That’s strange, like he knows too much. He shouldn’t be doing that around here, or stuff like that. India is also like in this, around the cities and in in

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touristy areas, I mean.

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around the cities. There’s a lot of like tech and high society kind of thing going on as well. They’re also getting more into the healing aspects of plants. They have an incredible Ayurvedic culture and stuff like that. So they’re also into it on a cultural level. Then, of course, there’s the whole hippie scene in in in the west coast of India, and they’re all into that like, oh, yeah, let’s go to going dancing, yeah.

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and then meditate with the plans, and so on. So. But I I feel that for the project right now, Europe is probably the the most virtual place, because there’s a lot of like minded people that are that are able to work on that in that kind of field.

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not taking away from the other. No, no, I mean, it was more sense like, we’re ready for for this kind of interaction. Yeah. And I think it’s so far outside of the norm to to be at a concert, that

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you know the musicians are plants, because, in particular with you right now, like where master plants

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started off in this perspective of being, you know, a lot of like you, said jazz musicians with maybe one or 2 plants. Then, with the admin of your device, the master plans. Orchestra like, gives the idea from multiple plan. And you, although you are a musician, you find yourself more on the I’m the hands and the engineer, you know, helping, and more of an electronic producer with the plants as well as more than anything like when I do play music, healing sessions.

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I oftentimes tell people I’m like I am here at the service of Spider Plant, like that’s my job is to be here and to do what Spider Plant needs, and it feels like in some ways that’s kind of

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what you’re doing. And now that you’ve been doing this, and you’ve given like the plants that you’ve been working with. Get to know the device you get to start to express yourself even more. Yeah. So where? Where do you see this going? Where do you see the music that you’re making going? I think we’re going back to becoming what we call interspecies and interspecies, band or interspecies music, which was also the the name of the first album. Then the device came along, and it was like

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really cool. It could do much more than we expected, so it became just like a plant band.

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and, as she says, as you say, also, I became kind of in the service, just putting up the thing, doing a little bit of maintenance during the concert, making sure everything was working, and then

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and slowly, there’s room for my myself also to grow artistically into it. But it’s taken me some time to figure out like what I’m supposed to do in that context.

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Also, because

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many people are still really confused about what’s going on. They’re able to understand one plant playing one sound, and you’re able to decipher that. It’s it’s easy to understand. But then, when there’s more sonic information, then people kinda get confused about who’s playing what? What is going on already. So also adding a human element into that

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just didn’t feel right right now until now. And

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but now we’re we’re sort of starting to go go more into. Well, it’s that progression that we were talking about right like when I go, and I watch

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a symphony.

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I don’t wonder which violin I’m hearing right. I know that there’s a bunch of people on stage. There’s a bunch of violinists. Yes, there’s the first chair, but I don’t necessarily, you know, unless it’s somebody I know. I’m not trying to understand exactly what, or even a band. Sure. Okay, I might know the singer, because I know the singer’s voice.

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but I don’t necessarily. You know, when I have something where I have multiple musicians on stage. After a while I forget that they’re individual sounds like individual instruments coming in. They all blend together like a band. You have to sound like a band. And I think that that’s been.

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This is part of that progression with plant music, the majority of plant music out there, because there aren’t any other devices, like the ones that you’re creating are about one plant, usually. So you can hear one plant. And even though Dominur in the past has done, you know, multiple plant concerts.

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because the sounds are so separate, like, so different. It’s it’s still easier to hear and to associate. Oh, this sound with this plant. I remember when I was at Chelsea Flower Show way back in 2,013, we had 4 plants on stage that were connected to 4 individual devices, and each one had a distinct sound. But that

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artists that had put that entire exhibit together had had the plants play together for 2 weeks beforehand. So by the time Chelsea started those plants were starting to sound like a band like they were blending. Each one had sort of settled into their own role.

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one more progressive, more percussive, sounding, one more, having holding the the kind of tempo the other one holding more the melody line. And there was like all it was really interesting to watch.

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and so the audience could see just 4 individual plants.

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and then we could solo the plans like we could shut off the other devices so that people could hear that one. And, like you said a lot of them ask like, who’s playing? What? But I do think that over time, as plant music in general becomes more mainstream, as devices like yours become more mainstream, being a multi-track device like multi-put device.

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I think we’re going to again pass. Go back to the idea of the band.

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and that plant music is going to become that sound of of

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of melding together of what gets created together. And I think that’s gonna leave a lot more. Which is the realm that I am. The most excited about is the idea of those interspecies kind of collaborations. I mean, it’s very cool. I think it’s gonna be awesome. Because I way back when I first started working in this realm. That was what I was pushing for. I was. I was helping people curate interspecies.

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kind of exhibitions and concerts and things like that. And I. Kinda so I’m I’m a projector on the the human design factor, which means I live about 5 to 10 years in the future, and I don’t realize it until somebody smacks me down and is like, what the hell are you talking about? People don’t want that, but it’s because I’m usually like in the future.

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And so it’s only now that the kind of of curated exhibits and concerts that I want to have are starting to come into fruition because people are in certain

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environments. Besides the fact that there’s this huge reawakening that’s happening for people and plants in general. Right? So we’re starting to step out of our plant blindness. We’re starting to see more critical plant studies, human plant

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relationships, plant the plant humanities, plantology, all of these different pieces that are starting to come in. That’s making people realize, oh, plants are beings, they’re persons.

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And so now.

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the music

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being an ensemble, doesn’t.

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it’s easier to even conceptualize like, oh, well, of course, if the plants are aware, and each one has in its own personality, of course they’re gonna be playing together, and then I’m gonna stop. I think, at some point, wondering who’s making that note versus I’m listening to a band up on stage.

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So how do you? I’m curious as to if you are able to project yourself into the future, and you’re having a concert. So it’s you and whomever else, and whomever else, whether a human plans, what do. What do you see? Where do you see yourself, and and what kind of art

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do you want to be creating? I think there’s 2 fun sides of it. Of course we’re going to be creating much more art with plans, and the device is going to go out to more artists. And we’re working on that as well. And

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and these artists are also. They

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share a similar work ethic with us, like they want

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to communicate that

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about that gap that exists between us and the plants right now that we want to bridge that. So in that sense there are going to be more artists for sure.

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and I see that there’s going to be a lot more interspecies

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going on. We’re

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both. There will be pieces where the humans and the plants are very integrated and really creating that same size sort of symphony that you get when you get go out in the jungle, though you hear, like the whole of natures like vibrating, and the insects, and the birds, and all the creatures, and the

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and the wind, and everything is sort of a has their own symphony. No.

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and then there is another thing that I like is also where you can sort of distinguish the human musician.

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the infamous solo, the solo.

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because it it also has its own beauty. When when you can hear a bird or like it, it has its own emotion. So I think we’re gonna go really far. And and I think we’re gonna go sonically and philosophically, especially very far

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with this kind of music, because there is a lot of philosophic implications as well, you wonder about different things when you have a plant in front of you. Then when you have like a musician, can you play like a G major, and this and that. It’s a completely different way that you have to interact.

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So you, as a sort of as a human or whatever we are, we sort of have to change into

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learn about that interaction as well, which is very precious, and it gives a lot of

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wonderful gifts, perhaps, to be in that space well, and it also changes the nature of a song. I was thinking about this after our last conversation, because.

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of course, today with the interactions we have with plants. You can’t say like, Here’s my sheet music. Give it to the plant and be like this, what you’re gonna play right? And so I was trying to. I was trying to understand what is the nature of like a track or a song when when it can never be completely replicated.

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and I was trying to figure out

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in in my own mind. I was just, you know, sitting here with with all of my plant friends, of which really only one or 2 of them are musicians. I mean, it’s

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at least musicians that play regularly. So I was asking them

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what what is the nature of a song like, what does that look like? I mean? Yes, there are some songs that are mainly key signatures, or like changes in you know what chord structures, I guess, is the what I’m really looking for, that you play. And then, yeah, sure, there’s a slight melody, and that gives us recognizability to be able to say, Oh, that’s such a track.

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But that’s the nature of human music that we’ve created.

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And so

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instead, I was thinking about how, when we like one of the first very first albums I ever heard connected to plant music

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was more about tracks that were recorded. Not so much for being a song, but more for being

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such and such plants playing together like this is 3 roses, and so, and then then that was edited into or mixed down into a track. Yeah, I think at the beginning, that’s that’s the only thing you could do really is the only way you could think about it, because our human kind of way of thinking about it. So it was kind of like, I’m versus recording a jam session. And I’m turning it into something that I can listen to over and over again.

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Hmm!

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Though, that now we’re moving into. And then we move towards the idea of some of, like the way that you work, which is, you know, there’s a context. There’s a shape that you’ve given it with a human shape. And you’ve you’ve included these plants as parts. So there’s maybe instrumentation that each plant takes and that you identify and say, Okay, this plant is this instrument. And this plan is this instrument, and I have a certain arc as the human.

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and it’s kind of like a little bit like a conductor slash composer of live where you’re taking

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pieces of live events of live jams, and you’re sort of

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on the fly mixing them together. But you you always sort of have this. You have the arc in your mind. And so, therefore that’s what makes a song, and that’s what gives you the repeatability when you’re doing a concert. So no concert really sounds exactly the same, but there’s elements of it that are similar, and that if you listen to them over and over again, you could identify.

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actually think we know what the heck the future is going to be. I think it’s going to be big. I think this is going to be growing. There’s a lot of

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talk on the Internet about it. There’s a lot of people doing like mushroom. Yeah, mushroom music, which is very easy to understand. I saw ice, music, ice music. It was music being created as ice was melting. And I just told you about this. There’s somebody inside of the naturally conscious community. So you should come in here because we’re trying to get Zootona to come and share more of their music inside of the naturally conscious community. But there’s somebody in there now, Jean Luc, who does

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the music of proteins. Yeah, that’s cool. And so I’m like the music of proteins and the music of plants. Yeah, let’s do it. People are also mixing brainwave music. We had, like a brainwave band hooked up to musical devices as well.

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It sounded so much like plant stuff, so it makes sense, makes sense, however

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confusing to the audience. So, and then having some dude with a headband full of wires and stuff, it was kind of getting very. We need to go tell the audience when they ask you which plant which sound is which we just need to be like chill out. Yeah, like, just relax for a close. Your eyes.

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Allow yourself for it to walk kind of like we were saying. It’s kind of like a garnbath. You don’t know which gong is playing. What? Just let the whole thing wash over you and see what comes up from there. Exactly when we made the latest set.

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and we went from having the older device. We just have a new prototype. Recently we started to think also about how is the voice of nature itself. So how does more voices combine into one

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one voice, which is then the the symphonic music that we’re doing now? So in a symphonic orchestra. They all pitch everybody pitches in to make the symphony.

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and which is also the name of our device. By the way. And

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so, if you know the more esoteric side about our music. It’s the idea of the concert is actually what happens to you and what happens when you meet plant consciousness.

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So so the set that we have and the music that we play is like the doorway to plan consciousness. You enter into their world. It’s like the second tribe becomes a little bit more alien. Then there is a place of calm, and then you meet the voice of nature, which kind of sings to you. And then there’s like this grand moment of coming back into our world with the knowledge that your voice

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and the voices for nature is the same voice.

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This is sort of the the the idea about our set love it. Nobody knows that. But we just we just know it. Yeah, we’re doing human experiments in every country to see how how that sort of meeting goes. And we felt that that was also a worthy

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way of representing plant music, even though

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we usually don’t get around to explain that kind of stuff during the concerts. So this is a special thing for this

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this moment in

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this is this kind of what we wanted to express through our music is that meeting with plant consciousness, and the individual voice might not be distinguishable all the time. But there is a sphere that you can enter into, and

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can merge your own being with

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the plant nature, which is also our own nature. Somehow we all, we all come from that sort of okay. So if people are interested in the music that you’re making in the work that you’re doing with these plants in the music. And who are your plant musicians? Where do they go? Yeah, well, they can always write us. We have a hello@masterplan.net. We have a website.

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masterplans.net

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and all, included in the show notes. So you don’t have to worry. Yeah, I think the best thing is really to come to our concerts. Our websites are one thing, but

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seeing and experiencing the vibrations that the plants choose to play, because, as she said also earlier.

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We give them the sounds and the sort of templates that they can play within. But the concerts are always played differently, so they might have.

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I dialed in like a violinist, have. They might have the same same instruments in the concerts, but they never play them the same way twice now, so that means that every concert sort of sonically interacts with the

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with the whoever is there at that moment that the concert had been playing played.

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the the frequencies will be different for for them. So

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coming to a concert is really the best experience. But we are online on spotify, on with master plans, and you can listen to the concerts

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as well from the from when Tikrila was yeah, was at first promoting us. It was so much fun, so much fun. I kind of, miss.

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I miss that. I think the environment like you said like being in it is so different.

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And and there’s so many challenges that we still have to kind of to get ourselves out. And of the mess. Even just traveling with plants is not the easiest thing in the world. I actually have one of my clients who has a plant that has now traveled all over the place with her. And so there’s all these restrictions. It’s not the easiest thing in the world.

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So this is part of the whole kind of training that’s happening of more and more plant musicians and being able to

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to connect into plant musicians all over the world. But yeah, any last words, anything you want to share things that you’ve experienced wisdom that you’ve been taught from the plants on this path.

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Well, I think the the most. The core wisdom is is basically that we are the same voice as they are. So we can take up the the SEO or plans, and and there we are, nature itself.

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So, taking up that sort of responsibility and role, or but also just realizing that

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we are nature itself, and we can really

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move towards a harmonic pattern with nature, and and represent the nature that we are and that they are. This is sort of the core wisdom that I feel that I’ve gotten out of it. And it’s a process because we all come from cities or whatever we come from. And even if we are very harmonic beings, that’s still gonna be a process interacting with nature itself and co-creating right? So

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I guess that’s I think that’s the core wisdom that I’ve I like it. And you and me. Oh, please, you know, I talk about plant music all the time, and and obviously because it was my great reawakening, like when I, when when all of this world started, it was all thanks to that one plant playing at the mill that that just

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opened up this whole perspective. And and I think the beauty is being a musician as well as coming from like a healing background. And all these aspects is that I’ve been able to meet so many plant musicians, but who want to use plant music in different ways. You know there’s the plant musician, healer like Spider Plant, for example, my my business partner, who does all the healing now in in the in the family like, and I don’t do it versus other plants that are about, you know.

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Wanna play music that you’re gonna make music with versus another plant like Tresenia back here, who who wants to make music for? For you to dance, to, to move your body in a form of communication. And so I think it’s really still in a place of experimentation which I think is so great and

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of personalization right? And this is why, having your own device, you know whether you go whether you’re an individual, and you just want to

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work with plants, one on one, and you get something like the music of the plants device. Or if you’re a musician of some sort, or an artist who wants to create with multiple plants, and you go down the path of

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the masterplan sympathy of madness, because when the plants outnumber you, trust me, you never know what the heck is going to happen there. So I think that that, allowing ourselves to form these relationships with plants in different ways. And to see.

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you know they’re gonna take you. I thought it was. Gonna take me much more down the route of of like music, like what you’re doing. And in reality it’s taken me much more down the route of art as like performance, art as a form of of emotional expression and of exploration, and then of healing, which was not

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not what I expected at all to this journey. So I think that that’s the other piece of it is like, not all music is the same. And and just like it’s not in humans. But remembering that the music can is, is a form that the plant can express

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in the original way that we, as human beings, have expressed ourselves. We’ve always expressed ourselves through

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sound and movement and dance, and

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and all the different waves, and those tonalities that help us express ourselves. So I think that’s what makes plant music

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so incredibly powerful. And I really look forward to seeing what you create with your own like expression of of your connection to plants, whether you’re creating any kind of art or performance. Art, whether you’re creating music anything that it is. So, you know, you can always come into the naturally conscious community. That’s the place where we’re sharing all of these different ways that we are working with. We even have

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one of the people in the community who has written a children’s book introducing the music of the plants to children, so that that way they can connect with with trees and with other kinds of plants. And so

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who knows where these expressions are, gonna take us. But thank you so much, Tuthana. Thank you for this conversation. Everything is gonna be in the show notes. So you can see links to music and videos and to also the device, and both the individual music of the plants device as well as for you all multi-track folks.

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The Masterplan Symphony, which is currently still under production. The latest we’re almost there. So support did donate project so that we can get more plant music into the hands of musicians and artists around the world. So and remember as always, resist the urge to hold back your emerging green brilliance. This is me, Tigrilla Gardenia, and that’s bye, for now we’ll see you next time.

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Thanks for listening to this episode of Reconnect with Plant Wisdom

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intro and outro music by Steve Sciulli and Poinsettia from the singing life of plants.

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So join me, Tigrilla Gardenia, and my plant collaborators next time on reconnect with

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plant wisdom.