Occupying a rare space where spiritual devotion, electronic experimentation and intimate folk songwriting collide, Victoria-based producer and singer-songwriter Cale Anderson has managed to deliver a deeply immersive work on his new album release, Yemaya (We All Come from the Goddess). Interestingly, the record was recorded with a distinct micro-tuning philosophy (~444Hz), alongside a streamlined guitar setup and a selection of layered electronics, blending numerous genres together to create something that sounds truly sacred.

By Jane Howkins

The theme of the record and spiritual pulse are established firmly by the opening track, We all Come from the Goddess. It’s rather unique sounding, using some intriguing synth textures and evolving electronic beats that slowly build up into an eerie, hypnotic buzz. It’s a great opener and introduction to Cale’s style, that’s for sure! Mother of Souls starts out slowly again, before deepening the ceremonial mood with a mixture of both organic and electronic instrumentation. The vocals are a little disconnected in the mix, but I believe it’s intentional, laying out a meditative sense of rhythm throughout the track.

The Pearl of The Woman God sees Cale showing a more vulnerable side, opening with some softly spoken vocal passages that flow perfectly over the ambient electronics on display here. However, the pace does pick up after a while, steadily blossoming into a soulful vocal confession of sorts. As you might have guessed from the title of the song, 444 serves as the main focal point for the album’s unique frequency tuning. The song relies on a series of warm and pulsating rhythms, creating a hypnotic sound that will get inside your head straight away.

Project Kali uses a little more autotune than I’d like, but it kinda works with the type of song this is. It’s still fairly distinctive in style, yet the electronic elements somehow sound sharper and punchier, almost having a catchy sound at times. It makes for a nice change in pace though. Up next is The Mindless Serenade, which again features some catchy beats and synthy basslines, although the rest of the music retains a dreamlike vibe, using Cale’s vocals to reflect on the dual concepts of human connection and individuality.

Invincible Heart is another more uplifting tune, providing a welcome burst of emotion due to the modern synth arrangements and driving rhythm. It’s a pretty short song, but it still seems to combine the acoustic and digital musical elements on offer here in perfect harmony.

Interestingly, the rest of the record consists of instrumental songs, with Imperfections – Instrumental being the next song on the album. Despite the instrumental nature of the piece, it still remains perfectly evocative, showcasing Cale’s musical talents and mastery across the board by creating an organic feel. Yemaya – Instrumental is another piece that strips the vocals back entirely, relying instead on a crisp sense of synthetic percussion and a series of shimmering electronic textures that are perfectly layered, bringing the devotional arc of the album in a full circle.

There’s also a couple of instrumental versions of other tracks on the record (namely 444 – Instrumental and Mother of Souls – Instrumental), which I actually kinda preferred over the original songs, but that’s likely just a personal matter. The Outro is also very short, seeming a little unnecessary in some regards, but it’s still a vital part of the album overall.

It’s clear that Yemaya (We All Come from the Goddess) is far more than a collection of genre-blending tracks. Instead, Cale Anderson has produced a holistic and meditative experience that rewards dedicated listening. It won’t be for everyone, but those into their experimental music and spiritual music should find something to love in this deeply personal album.

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