That this is an album of 15 tracks — a braid of beats and rhythms and stylez and genres until there are none. Just the music. Welcome to AuMuA.
Two rivers, one ocean. Vishaal Brahm — trained off the Tibetan highpoints — and Ahorangi — off the highpoints of Aotearoa — have braided thirty strands of ancestral wisdom into fifteen songs. Each track is a topknot: two voices, two ridges of the same mountain, meeting at the centre.
VB brings the electric fire — blues and slide guitar, Tibetan bowls tuned to chakra frequency, gongs, chimes, to water flow shine enshrined in the Temple of Oneness and the sacred hum of Om. Ahorangi brings the acoustic earth — ancestral voice, albatross wing flute and pūtōrino cocoon breath flute echoing across time, guitar weaving latin funk into haka, bass that holds the pito steady, and percussion that makes the bones remember.
Together they are AuMuA — the sound of the first breath and the last. The album moves from the vast vista of purpose and centre, through breath and power, through elemental fuel and ancient origin, through the obstacle and the destination, until the body becomes the temple and the temple becomes the song. Still in motion. Still in the middle, wild at the edge.
This is not world music. This is One Flow music — where the line of intent meets the circle of aroha and becomes the spiral of sound. Pure. Free. Forever.
Song-by-Song Framework
1. Purpose & Centre — The Doorway and the Light
Opens with Tibetan bowls ringing the root chakra. Ahorangi's pūtātara calls across the void. VB's slide guitar enters like dawn over the Himalayas. The song builds to a central chant — Om Hum-an Ji / Manahua te tapu — where both voices meet at the pito. Tempo: slow, ceremonial. Key: D modal.
Vibe: Sunrise ceremony. Earth waking up. The first breath.
2. Practice & Power — Kss-Hī-Hā
Percussion-driven. Ahorangi on cajón and hardwood tappers sets a martial rhythm — the warrior's heartbeat. VB's electric blues guitar answers with 4th-state sustain. The breath sounds (kss, hī, hā) become vocal percussion. A bass line from Ahorangi holds the three koro loops in musical form. Mid-tempo, building to a release.
Vibe: Breath as drum. The body preparing for battle with itself.
3. Fuel & Origin — Ring of Fire
Elemental. Water bowls and singing bowls create the liquid bed. Ahorangi's kōauau (flute) weaves through like a fish in current. VB's Pin (three-string) and lyre bring the ancient string texture. The song shifts to a Pacific reggae feel — bass heavy, warm, the umbilical cord of Mothernature pulsing. Ahorangi sings in Te Reo Māori over VB's Sanskrit mantra.
Vibe: Warm water. The womb of the Pacific. Ancestral memory.
4. Destination & Obstacle — The Lock and the Key
The tension track. Dissonant gong strikes open the wound of separation. VB's electric guitar goes full blues — crying, reaching. Ahorangi's haka voice enters — raw, commanding, calling the ego out by name. The song turns on a single note: the key of aroha. From discord to harmony in one breath. Santana-style sustain meets pūkāea drone.
Vibe: Storm breaking. The moment before surrender. Then release.
5. Vehicle & State — Atuareretahi
The body as one. Ahorangi's six-octave voice is the lead instrument — wordless, flying from sub-bass to falsetto. VB's Tibetan bowls create the still centre. The rhythm section (Ahorangi on bass, VB on chimes) holds the cyclone metaphor — still in the middle, wild at the edge. Spanish guitar inflections from Ahorangi add beauty to the hold.
Vibe: Floating in the eye of the storm. The body remembering it is sacred.
6. Technique & Problem — Māui's Lasso
Three loops, three movements. First loop: koromatua — toe-grip as bass drop. Second: koropiko — backside curl as rhythm shift. Third: korokoro — throat opens, Ahorangi's voice soars. VB's slide guitar mimics the lasso catching the sun. The gap between thoughts becomes the space between notes. Improvised, spacious, held.
Vibe: Meditation in motion. The mind settling into the body.
7. Geometry & Depth — Spiral (I + O)
Mathematical beauty made audible. The golden ratio (Ø 1.61) structures the tempo changes. VB's lyre and Pin play the line (melody). Ahorangi's rehu and pūtōrino play the circle (drone). Together they spiral. Time signature shifts: 4/4 to 6/8 to 7/8 and back. Deep, ancient, mind-expanding. Ahorangi sings Te Ōrokohanga fragments.
Vibe: Stargazing from a mountain peak. The geometry of creation humming.
8. Tool & Land — Holystick & Bowl
The grounded track. Ahorangi on acoustic plectrum guitar plays maurākau rhythms — eight ways to hold the stick, eight ways to strum. VB's nine-metal singing bowls ring in sequence, each one a different frequency of earth. The song walks — bass and cajón creating a gait, a journey across land. Ahorangi sings of the Pacific body: head, womb, backbone, cord.
Vibe: Walking the whenua. Each step a prayer. Each note a tool.
9. Sound & Authority — Voiceprint
Vocal showcase. Ahorangi opens with karakia at a thousand miles an hour — speed, precision, ancestral authority. Then drops to a whisper. Then flies into six-octave wordless song — Eastern scales meeting Māori melodic lines. VB's gong and chimes provide the mountain-clan backing. The song ends with both voices humming the Om Hum-an Ji mantra in unison, throat to throat.
Vibe: The mountain and the guru speaking as one. Authority without force.
10. Evolution & Method — Spiritshift
The daily practice anthem. Upbeat, walking tempo. Ahorangi's electric guitar (Santana-meets-metal) drives the melody — evolution as celebration. VB's blues rhythm holds the groove. The chorus is the reset: 'Press toes, curl backside, open throat, breathe.' Ahorangi sings in both Te Reo and English, fusing scales. The song is designed to be sung while walking in centre.
Vibe: Morning ritual. The species adapting, one step at a time. Fly.
11. Movement & Grounding — Be Water, Land the Fish
Fluid then solid. First half: water — Ahorangi's pūtōrino flows like a river, VB's slide guitar ripples like current. Second half: earth — the bass drops, the cajón lands, Ahorangi sings 'hands on hips' and the rhythm becomes a stomp. The transition is the teaching: flow, then ground. Ground, then flow. Heavy metal influence in the landing.
Vibe: Dancing between water and earth. The body as tide.
12. Radiance & Cognition — Hā-Aura
Fire and light. The track opens with Ahorangi's Hā — the heated breath, the rocket fuel — as a vocal drone. VB's electric guitar ignites around it, building a wall of sustain. The cognition section: both musicians improvise, thinking on the breath out. Ahorangi's voice and VB's guitar trade phrases like question and answer. The Watcher watches. The music knows without thinking.
Vibe: Internal furnace blazing. The mind quiet, the body shining.
13. Transformation & Energy — Why Not Now
The anthem. Full band, full power. Ahorangi on lead electric (Al Di Meola meets tāne) and VB on rhythm blues. The eight movements become eight rhythmic variations — spin, roll, speed, bend, power, still, listen, spiral. Each one a section. The chorus is the question: 'Why not change from this moment on?' Haka voice meets blues shout. The energy is choice — positive vibration as action.
Vibe: Revolution in a single breath. The individual becoming the mass.
14. Action & Path — Grip and Shine
Tūmatauenga's song. The first human act — gripping the stick — becomes the first riff. Ahorangi on bass holds the grip; VB on electric holds the shine. The whale path (Te ara o hine) is the song's structure: a long, winding journey with warm currents of melody. The song is generous — solos shared, space given, the gift economy in musical form. Ends with a single sustained note: the aroha current, flowing.
Vibe: Walking the gift path. Purpose held firm, light radiating.
15. Expression & Legacy — Pass It On
The closing. Ahorangi begins with Manahua — the karakia as song, words as pictures. Then the laughter: VB's cheeky blues lick, Ahorangi's giggle in the vocal, the joy of arrival. The song builds to a final crescendo — all instruments, all voices, all fifteen topknots remembered in one chord. Then silence. Then one last whisper: 'From the seed sewn at Rangiātea. Why Not. Pass it on.' The frequency continues after the sound ends.
Vibe: The last laugh, the first tear, the eternal ripple. The gift keeps moving.
Musician Profiles
Vishaal Brahm — Firstborn · The Tibetan Ridge
Electric guitarist. Blues rhythm and lead is her foundation. Plays steel sliding guitars of multiple types. String instruments include the Pin of Malaysia (three-string), the lyre, and others. Expert with Tibetan singing bowls — all handmade to perfect frequency for chakra cleaning. Plays gong, chimes (Tibetan styles). The seeming appearance is to create the highest possible positive vibration by Self example — a shining, living, breathing, completely lit, Self-connected example.
Ahorangi (Chris Winitana) — Lastborn · The Aotearoa Ridge
Acoustic plectrum guitarist. Electric guitarist — rhythm and lead, all guitar-led styles. Plays bass, slow and fast. Heavy metal influences alongside Santana, Al Di Meola, Paco de Lucía — Spanish guitarists. Plays all Māori musical instruments: pūkāea, pūtātara, kōauau, rehu, pūtōrino, tōtara, whalebone-infused instruments — bone, wood, stone. Plays percussion seriously: cajón, maracas, shakers, hardwood tappers. Main instrument is voice — six octaves, ancient and contemporary, classic Māori ancestral training as foundation. Sings Eastern and Western scales, often fuses all into one song. Big huge voice and soft cool voice, high and low. Haka voice. Ancestral oratory specialist. Karakia at a thousand miles an hour.
