Tracks from the album “Everything Painted on the Veil” by Luke Bozzetto and Daniel Portelli.
A series of improvisations, developed, arranged and remixed in a studio.
The music is based on visual concepts by finding the aural equivalent to visual ideas. An example is entoptic phenomena, which are visual effects within the eye retina, and phosphenes, where flashes of light appear without light actually entering the eye, which may have formed part of the artistic practices through tranced induced states in the Paleolithic cave paintings in Lascaux (France).

Although we had no way of knowing how people perceived the world during these times the music tries to respond to our comprehension of a mystifying past through different sonic deliveries (stasis, timbral colour etc.) and portrayals of ancient ritualistic practices.

“The San Bushman of Southern Africa, who conceived the cosmos as layered. For them, the rock face was like a veil suspended between this world and the realms inhabited by spirits and spirit animals.―Everything painted on the ‘veil‘, no matter how secular the images may seem to us, was in fact set in a spiritual context and contributed to the dissolution of distinctions between the material and the spiritual worlds. (Lewis-Williams and Dowson: 2000, p. vii). ―When viewing Bushman rock art, we should remind ourselves that we are looking at a bridge between two worlds.” (Lewis-Williams and Dowson: 2000, p. 36).”

“These Upper Palaeolithic people, Lewis-Williams speculates, ―must have believed, like Socrates‘s prisoners, that those images and experiences were part and parcel of reality, as they conceived it. (Lewis-Williams: 205).
In hunter-gatherer societies, shamans were ritual functionaries who exploited altered states of consciousness to perform a range of tasks…including the creation of art of magico-religious character deep in caves.

The shamanistic cosmology conceives of a spiritual and a material realm, separate and interlinked, subdivided and layered. Lewis-Williams argues that entry into these caves for the Upper Palaeolithic shamans was similar to a entering a mental vortex that leads to the experiences and hallucinations of deep trance. Spiritual experiences were given topographical materiality, providing a system of verification of the tiered nature of the shamanistic cosmos.

Source
Eagar, Manie. Cave in the Mind – Mind in the Cave: Seeking the ‘source’ of Conscious Will, Apeiron Institute Johannesburg, South Africa, 2004.