Peter Phippen: Ghosts (digital)

Product Description

1 Prelude to Ghosts
2 Inside the Underworld
3 The Dreaming Room
4 Summerwind Mansion
5 Here in Her Absence
6 Willpower and the Dice Pool
7 Feral Cries
8 Entangled Forevermore
9 She Does Not Sleep
10 Movement in the Shadows
11 What Can’t Be Seen

Genres: New Age, World Music, Meditation, Relaxation

Flutist Peter Phippen says certain objects hold spiritual energy or supernatural characteristics. Due to these energies they can be haunted. On Ghosts, his solo follow-up to 2022’s Into the Ancient, he performs 11 tracks of haunting and transportive world music. His ancient instruments, traditional flutes from across the aeons, “hold otherworldly powers within.”


Elegant, captivating, melodic and mysterious, Peter’s flute is unaccompanied, an evocative reverb his only companion on this multi-dimensional ritual of note and nuance. With a mystical ability to connect breath and mind, his flute whispers earnestly to us with every note, a stark, unworldly magic balanced with sensitivity.


“In the natural world,” Peter reflects, “there are many unexplained phenomena that some would call unnatural. For myself, it is impossible not to feel a presence in some antique musical instruments. If one allows these instruments to play themselves, uncontrolled and freely, stepping out of the way of the music pouring out, then these instruments can act as a conduit to the spiritual realm or a gateway to the divine. This uncontrolled freely played music which conjures primordial outcries contains the energy left in these instruments long ago by those who lived with them, loved them, and played them extensively, before my time.”


Marcus Leader (Author, Toltec Shaman, and Parapsychologist) writes:

Peter Phippen’s flute solos have long been known to mesmerize and captivate audiences transporting them into higher, peaceful states of awareness. His uncanny ability to release control of the flute allows his own spirit to merge and resonate with the spirit of the instrument and environment around him creating an “otherworldly” ambience that caresses the deepest levels of the soul. What many do not know is that this phenomenon transcends the world of the living piercing the veil by creating a sympathetic resonance between the living and the dead. It is no wonder that when Peter plays in the darkness of sacred places his music shines like a beacon through dimensional realities beckoning the spirits of those who have crossed over to return and listen to his enchanting melodies. I know this to be true because as a private researcher with the professional division of the Monroe Institute I have witnessed this firsthand in the laboratory and in the field using his music at sacred sites.

With his new album, Peter’s abilities to enchant and captivate both the living and the world of spirit have never shined brighter. When I first listened to Ghosts, I sat in darkness illuminated only by a single candle and relaxed to his hauntingly beautiful music. I could almost hear the spirits calling out from within those ancient antique flutes as Peter conjured them into manifestation. After a few moments, I got that feeling of not being alone as a gathering of spirits became evident. I believe that at least one was that of a beloved ancestor. The entire experience brought a sense of peace and love to my soul and tears to my eyes. Ghosts captures the essence of the shadow realm. Listen to the album and be taken on a journey of the soul where you just might encounter lost loved ones.

Artist Bio:

Over the past three decades and 22 albums, Peter Phippen’s experiential, natural folk style revealed a penchant for creative and artistic sonic improvisation. He’s researched the history and performance technique of traditional flutes from around the world and throughout time. Phippen was the first non-Native American flutist signed to Canyon Records, which released his classic 2003 album Night Song. Phippen is a Grammy Award Nominee, International Acoustic Music Awards Nominee, and multiple Native American Music Awards Nominee. Phippen is a performing and recording artist specializing in traditional flutes from around the world. GHOSTS is his 4th release since signing in 2022 to Projekt Records.

Produced by Brian Reidinger and Peter Phippen
Recorded, mixed, and mastered by Brian Reidinger at Studio B. Minneapolis MN.

Projekt release: February 17 2023

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  1. Reviews Editor

    From Higher Plain Music

    Ancient flutes and a mystical reverb brings you one of 2023’s most introspective albums.
    What does Peter Phippen sound like? Native American flute. Laid bare.

    I often showcase solo piano music here on Higher Plain Music but I’ve never showcased an album entirely dedicated to the flute. Today that changes with Peter Phippen’s Ghosts – a captivating and mysterious album that explores the Native American flute.

    Across the album’s 11 tracks, Peter leaves his flute totally unaccompanied except for one thing. There is a long drawn-out reverb that leaves a ghostly hollow hue to the flute between the various melodies and notes. The songs are written in a way that leaves punctuated gaps like a shaman calling in spirits. The effect of the reverb here is profound because the echoing resonance of the flute’s notes ring out so loudly.

    Each track snakes and weaves its way around the flute. Some like ‘Inside the Underworld’ focus on the instruments’ lower register and evoke a curiosity from within. Others like ‘Summerwind Mansion’ cascade down notes with empty longing and a sensitive grounded feeling. Whilst most tracks are melodic, some take the flute in more abstract directions. ‘Feral Cries’ focuses on a lamenting vibrato as if the song itself is struggling to breathe. That same vibrato is used more romantically in the long notes of ‘Entangled Forevermore’. ‘She Does Not Sleep’ feels more playful, like a love letter to nature itself.

    Regardless of what Peter Phippen does, there is an overwhelming sense of spiritual occasion with Ghosts. It is such a pure album with a dedicated single vision and Peter nails it with every track. It is designed to be played at night, in low light and to let your imagination take you away. Peter Phippen says that his traditional flutes “hold otherworldly powers within”. On the evidence of Ghosts, I wholeheartedly agree. -Simon Smith

  2. Reviews Editor

    From Exposé
    Joint review of Ghosts and Galaxies
    The two releases at hand center around flutist Peter Phippen, who has nearly two dozen albums across three decades. Phippen has researched the performance techniques and history of a variety of traditional flutes worldwide and throughout history, specializing in an unaccompanied, experiential style of improvisation. Such is the nature of his latest release Ghosts, his third for Projekt records, preceded by 2022’s Into the Ancient. The sounds of his solo flute improvisations are at once mysterious, graceful, refined, and captivating, the sound surrounding the listener like a warm blanket on a cold starlit night from the top of a precipice, the waves of shimmering sonic beauty wafting across the sky. The mesmerizing sound of the solo melodic flute has an additional cosmic power to gently calm the listener, bringing one full circle into a spiritual direction should the listener be open to it, the echoing sounds and improvised melodies calling forth unknown spirits — or Ghosts. There are eleven pieces that wander freely, most in the four to seven minute range. The astute listener will notice a psychological change that occurs as each piece unfolds — it’s just the nature of the instrument and Phippen’s style of celestial communication.

    With Galaxies, Phippen teams up with other musicians to deliver a similar cosmic unfolding, containing four longer pieces — three of them break the fifteen minute mark — adding some sonic variety to the mix, even though it’s still Phippen’s flutes (shakuhachi) that are central to the overall effort. A fifth track is a five minute radio edit of the third, “Triangulum,” which at full length clocks in at a little over fifteen minutes. The additional instrumentation on Galaxies comes via Rahbi Crawford, playing crystal singing bowls — their presence is subtle but an important element in the overall fabric of each piece — and Ivar Lunde Jr., who weaves in synthesized soundscapes and additional sonic elements that can be heard in the background of every piece. Again, the result here is a captivating, mesmerizing, and thoroughly experiential listen that provides additional dimensions and mysticism to the immediacy of Phippen’s flute improvisations. -Peter Thelen

  3. Reviews Editor

    From Rockerilla
    For Peter Phippen some instruments possess a special spiritual energy. Like his collection of flutes from remote eras and mysterious places. On Ghosts, which follows the 2022 collection Into the Ancient, the American musician puts together eleven tracks built exclusively with the transcendental timbres of the flutes. “In the natural world,” writes Peter, “there are many unexplained phenomena that some would call unnatural. For me it is impossible not to sense a presence in some ancient musical instruments [which] can act as a conduit into the spiritual realm or a gateway into the divine.” NEW AGE. -Roberto Mandolini

    Per Peter Phippen alcuni strumenti possiedono un’energia spirituale speciale. Come la sua collezione di flauti provenienti da ere remote e luoghi misteriosi. Su Ghosts, che segue di pochi mesi la raccolta del 2022 Into the Ancient, il musicista americano mette insieme undici tracce costruite esclusivamente con i timbri trascendentale dei flauti. “Nel mondo natural,” scrive Peter, “ci sono molti fenomeni inspiegabili che alcuni definirebbero innaturali. Per me è impossibile non avvertire una presenza in alcuni antichi strumenti musicali [che] possono agire come un condotto verso il regno spirituale o una porta verso il divino.” NEW AGE. -Roberto Mandolini

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