I prefer the isolation, so leave me the fuck alone
I'd rather have isolation, so get the fuck away

These people let me down, don't think you're an exception
They act like clowns, and I don't favor that reception

I prefer the isolation...

I prefer the isolation because alternatives are few
We all strive for that acceptance so the pressure is nothing new

And when it comes my turn, and then you turn away
I'd rather have not seen anything then to have to remember the loss of your face

I prefer the isolation...

Isolation

Ancient Desert Ritual, formerly ADR, started in 1994 by founding member and songwriter Glenn D. Clark. Clark started the recording of the group's first album, 'WALKING IN SAND', in the Fall of '93. He wrote the music and lyrics, arranged, produced as well as played bass, keyboards, electric, acoustic, and synth guitar. Later, he was joined by drummer Greg Ryan, guitarist Matt Timberlain, keyboardist Markus Emsermann, and vocalist Bill Paugh. After their contributions to the album, Greg decided to leave the group over writing frustrations and Matt faded off. Clark, Emsermann, and Paugh continued writing together. Looking for a new guitarist, Clark incorporated Tim Kestle to continue the album's guitar work. After the completion of the album, Bill and Markus left to form the group One.

'WALKING IN SAND' is a mixture of progressive rock and electronic/ambient music. The album starts off with Steel Ships, a commercial single about being creative and the price of exploring it. Shallow People's basic message, "get off your ass and just do it" no matter how scared you are. The first of the instrumentals is The Catalyst. A heavy synth piece with an aggressive groove. A dark version of "Happy Trails" is Plains. Inspired by Grant Lee Buffalo and Steve Hackett, a ballad about how change happens whether you like it or not. The album's centerpiece The Jaunt, inspired by a short story by Stephen King, is ambient at its darkest. Way To Get Back Home tells the story of a post-war tribe wandering in the desert and the ritual they use for survival. Ending the album is the reprise title The Jaunt Back, a highly-accompanied bass solo.

The years after the disbanding of the group, Clark started exploring the six-string bass. He wrote a number of atmospheric compositions and performed at local Denver coffee houses. In 1997, Clark opened Ancient Desert Sounds and Recording, an electronic music studio. In 1999, Raw Material, an annual electronic media showcase, made its debut.

Between doing work for clients and regular work, Clark recorded 'SPLICES 1:LANDMARK' under the name BASSBOARDS OF ANCIENT DESERT RITUAL. LANDMARK is a private collection of atmospheric arrangements that span fifteen years of archived material as well as 7 six-string bass pieces. A virtual waltz around the world and through it.

Since the release of LANDMARK, Clark has written 24 songs for the debut album from Ancient Desert Ritual. NOTCH is an album of lyrical songwriting with a bold theme. An angry darkness flows throughout this collection of tunes. Emotions run high.

During the construction period of Notch, several demos track were recorded for lyrical purposes. "I had twelve tunes written using my usual 6-string bass/midi pedals combination. I was exploring various VST effects plug-ins including GRM Tools using those tracks. Before I knew it, I had created twelve completely altered atmospheres. I released it as a prelude while I was writing Notch". 'PRELIMINARY CUTS: A PRELUDE TO NOTCH' hit the racks in late 2000.

NOTCH - Scheduled for release for 2013.

NOTCH Notes:
Glenn D. Clark - 4, 5 and 6 string basses, Hammond organ (B4), pump organ, piano, electric piano, synthesizers, nylon-string guitar, acoustic guitar, electric guitar, slide guitar, 12-string guitar, MIDI pedals, backing vocals, percussion, Simmons drums, and synthetic and acoustic nicknacks
Dan Solano - acoustic drums
John Duran - acoustic drums ("Monkey" & "Spit")
Patrick Boothe - lead and backing vocals
Andy Units - backing vocals
Harry Gilbert - cello and mandolin ("Good To Me" & "South Of Rampart")
Ben Tanler - acoustic drum recording engineer to Dan Solano session
Jason Nunnencamp - acoustic drum recording engineer to John Duran session
Thom Pavlechko - acoustic piano ("Good To Me")

Anyway...

A live recording was produced in 2005 under "BASSIC BEAR LIVE 9-21-05" featuring 6 live tracks and 1 extended studio track. The music is best described as Keith Emerson meets techno or gooblity gook with poly-rhythms. This live album was re-released in 2012 under the title "ELECTRIC BEAD FIRE DANCE: LIVE IN '05" minus the tracks "Hacketteering" and "The Time Chain".


The political single "THIS IS ALL YOUR AMERICA" was released July 4, 2012 with Austin's own Patrick Boothe on vocals. A song of grave concern.

'THE COLOR ANALYSIS OF APOCALYPTIC EVENTS' was released on October 16, 2012 as a 13-song eclectic progressive instrumental guitar-oriented album.

'THE COLOR ANALYSIS OF APOCALYPTIC EVENTS', aka 'TCAOAE', album is a loosely conceptional look at the end of the world. At least, as we know it. A soundtrack to the end of everything we perceive. Dark, tense, haunting, cynical. Even twistedly humorous, at times as found in “Wexamex The Protector”, TCAOAE takes you to some black areas. An all-instrumental guitar-oriented album with plenty of atmosphere and mood. The album starts off with “Snonado”, a bouncy weather-phenomenon twister of snow. Innocent and playful yet heavy. Then dashing us off to a festival or celebration of “Joyfulness (The Ritual)”, a drum circle of summoning. “Hold Em In” is a play on a catchy vocal loop. Folk that allures and entrances listener to join in. “Hold 'em in, it's alright!”. Rotating wickedness, a stereo tour de force, comes from the “The Carousel” in the style of Steve Hackett with the darkness of Pink Floyd. An homage to Hackett.
The title track cometh as the epic piece “The Color Analysis Of Apocalyptic Events”. Its working title was dubbed “Bruford” for its rock-fusion style before assembling its grand final version. Scaling things back a little, “End Of The World Blues” adds a somber and sad reflection of the earth fall apart around us. Sitting on the top of a cove at midnight. “Deezallved Spirits” and “Deezallved Spirits Return” shares a building melody line that is as haunting yet pleasurable as dancing ghost children. 
Driving, rhythmic, and memorizing is “Council Of Nemesis”. A paced behind-close-doors ear-to-the-wall eavesdrop on enemies locked in a chamber. Tongue-in-cheek, 80's-ish cop show soundtrack that is not an easily shaken thought from “Wexamex The Protector”. Wexamex came from a dream of an item that protects any good person from evil. Dreams, huh? Next, “India Night Trail” makes an ethical turn of leaving and abandonment of home. Sorry, Sting, but your rain forests are “gettin' it” too in “Mr. Sumner's Disintegrating Forest”. Finally, it's the end of the world so might as well dance to "The Rave In Hell". 'The Color Analysis Of Apocalyptic Events' is a collection of guitar, keyboard and drum loops with catchy guitar melodies, atmospheric synthes and enticing poly-rhythm. Music for the end of days.

The single "THE WORLD CAMERA" was released July 12, 2013. Lyrics by Patrick Boothe and music by Clark. The song features Boothe and Andy Units on vocals and John Duran on drums. Clark on all other instruments. A song about privacy, surveillance, and human interaction.

The first single, from the 'NOTCH' album, "WHY DID YOU DIG MY GRAVE SO DEEP?" was released October 28, 2013. Music and lyrics by Clark.

Isolation

PatrickBoothe