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The Southwest region of North America is full of breathtaking scenery, barren rocks juxtaposed in desert wilderness, great-walled stone canyons, blending cowboy influences with Mexican and Spanish traditions. Renowned pianist/composer Elizabeth Naccarato’s A Southwest Story draws you into this scenic world with her consistently calm, sensitive and well-arranged album of instrumental music with a bright Southwestern flavor. Each composition is a concentrated gem on a topic related to the broad area known as the Southwest.

One might say Elizabeth Naccarato is a romantic. She is known to compose entire albums when a place and its people speak to her soul. Produced by Michael Gettel, an exciting pianist and composer in his own right, the works range from solo piano to contemporary instrumental piano pieces accented by guitar, bass, violin, mandolin, percussion and accordion. Featured performers include Leon Christian (guitar and bass) and Nancy Rumbel (Native flute and English horn). Naccarato composed and arranged the genre-defying album, with the exceptions of "The Spanish Dance No. 2" by Enrique Granados, and "Fandango" by Federico Moreno Torroba.

Early singles "Dusk" and "Sacred Land" convey the stunning pastel sunsets, and the physical beauty of the land between Ute Mountain and Mt. Blanca, which is said to be sacred. Rumbel's Native American flute adds a hauntingly beautiful quality to "Shrine of the Stations of the Cross" an homage to San Luis' spiritual attraction of the same name. People visit from all over the world to seek its solace and to take in the breathtaking views on this trail of bronze sculptures (from 3/4 to life size, representing the 15 stations of the cross), which are positioned along a trail on a mesa in the center of San Luis.

"From whimsical tunes to waltzes to classical covers of Spanish composers to reverent pieces honoring religious traditions of old, and slow dreamy solo piano sequences reflecting on the region’s beauty and the natural elements, A Southwest Story offers a relaxing and uplifting 'auralscape' to a fascinating place," wrote Lissette Cascante, of the Auralscapes music blog and podcast.

Favoring the album's more classical influences, Kathy Parsons (Mainly Piano) wrote “...my favorite piece on the album (“Flower Moon”), Chopin's influence can definitely be heard in the graceful nature of the music. Ahhhh!”

A native Texan, Naccarato began her piano studies at the age of six at the Dominican Convent in Houston. She won her first piano competition at the age of nine and performed and competed in local and statewide events; later, she was a Piano Performance major at the University of Southern California where she earned her degree, and was a three-time winner of the Hollywood Alumni S.A.I Scholarship as well as a highly-coveted Teaching Assistantship in graduate school. She joined the Annie Wright Schools faculty in 1999 and has been an affiliate faculty at The University of Puget Sound since 1989. Much of her instruction is in piano and voice, but she also has directed dozens of regional theater presentations of plays and musicals.

San Luis, Colorado, is a very old town with the Stations of the Cross being one of the main focal points, and the opening track, "San Luis" (4:42) has a nostalgic sweet sad feeling, a familiar sounding traditional song given tender treatment, piano seasoned with guitar and mandolin.

The Spanish reintroduced the horse to the Americas, beginning in the late 15th century, free-roaming herds evolved in North America, struggling with the harsh climate. "Wild Horses" (2:58) has a very Spanish feeling, violin behind the piano with just a hint of percussion, feel the horses glide through the landscape.

To the oldest inhabitants of the Southwestern desert regions, respect for nature comes from a deep connection to the land; to the European way of seeing the world, the land is a commercial resource given by God for men to develop and yield wealth. Both experience the stillness, vastness, and harsh beauty and sense the importance of finding a necessary balance. The piano melody and violin joins and the melody weaves the story of the land, opening a more detailed lamentation of the history of the territory, "Sacred Land" (5:08) reminds us that sacred places strengthen the earth’s biological and cultural diversity, inspiring reverence for land and cultural diversity, and connect nature and culture.

"Mi Hito, No!" (4:12) has a traditional feeling, sad stories are the most compelling. Time to dance the cha cha cha, congas and hand percussion with piano and violin. Next, "Fandango" (1:48) features piano with fancy classical Spanish guitar thrills and sparkles. The Fandango is a lively partner dance originating from Portugal and Spain, two male dancers face each other, dancing and tap-dancing one at a time, showing which has the most lightness and repertoire of feet in motion, swift changes in the tap-dancing, seeing which one of them makes the feet transitions more eye-catching. The word fandango is sometimes also used as a synonym for "a quarrel", "a big fuss", or "a brilliant exploit."

Now for a romantic instrumental tale, "Brown Eyes" (4:12), a drum set with cymbals, accordion, castanets and glockenspiel joins the piano, celebrating the calm patience enduring the metallic brightness of a hot sun. "Spanish Dance No. 2 by Granados" (5:25) is a slow dance with lots of colorful fabrics, sad and rich with a quiet feeling, gentle as a breeze of spring. The hot, soft wind of the desert kisses our faces, all around the horizon bare volcanic peaks burn into the blue. Sometimes a whirlwind of dust travels rapidly over the plain, making one ponder what would happen should it gyrate into the vachtoe. "La Sierra" (4:38) is an ode to the mountains in the distance and forever, a range of mountains especially with a serrated or irregular outline. The sound is quiet and full, along with the piano, chimes shiver in a breeze.

The Stations of the Cross or the Way of the Cross, also known as the Way of Sorrows or the Via Crucis, refers to a series of images and sculptures depicting Jesus Christ on the day of his crucifixion and accompanying prayers. There is a famous Stations of the Cross Shrine located in Colorado's oldest town, San Luis, Colorado. Huberto Maestas was the sculptor for all of the statues. "Shrine of the Stations of the Cross" (3:33) is a sacred story, featuring piano and flute.

Vega is the brightest star in the northern constellation of Lyra, and lies at a vertex of a widely spaced asterism called the Summer Triangle, which consists of Vega plus the two first-magnitude stars Altair, in Aquila, and Deneb in Cygnus. "The Vega" (4:31) is a piano solo with a deliciously lighter sensation, invoking the Southwest's beautiful skies.

The sun is setting with all its melancholy splendor, "Dusk" (4:08) is a tribute to the end of the day, and the beginning of the night, piano and guitar are joined by a violin as the light becomes a rainbow magnified even beyond dreams, a thing not transparent and ethereal, but solidified, a work of ages, sweeping up majestically from the red walls, its iris-hued arch against the blue sky.

The single “Dusk” https://elizabethnaccarato.hearnow.com/dusk

The cowboy has deep historical roots tracing back to Spain and the earliest European settlers of the Americas. A cowboy is an animal herder who tends cattle on ranches traditionally on horseback, and often performs a multitude of other ranch-related tasks. The "cowboy code" of Gene Autry encouraged honorable behavior, mutual respect and patriotism. Dance was an important social activity in the Old West and the level of social skill was generally high. Men and women take turns sharing the pulse of the dance, couples moving in a circular motion across the floor. The track "Cowboy's Waltz" (3:30) features a full dancehall feeling with hand percussion, high hat and accordian.

"Flower Moon" (3:36) is a piano solo that closes A Southwest Story, a lovely portrait of the full moon in May. The Flower Moon is named after the abundant flowers that grow in the spring. Native Americans called it the Budding Moon, Egg Laying Moon, and Planting Moon. The Celtic and Old English names are Mothers’ Moon, Bright Moon, Hare Moon, and Grass Moon.

The Southwest is the hottest and driest region in the United States, where the availability of water has defined its landscapes and history of human settlement. The Southwest landscape is a dry climate with sparse grass, thus large herds of cattle requiring vast amounts of land to obtain sufficient forage gave rise to the development of the horseback-mounted vaquero traditions of northern Mexico. It is a strange land, a desert overgrown with strange soft-tinted weeds, “salt weeds,” pink, red, green, gray, blue, purple; the rich-green yellow-flowering greasewood; odd cacti, and all manner of thorn bearing bushes, haunted by its loneliness and silence and beauty. It appears endless, a strange world of colossal shafts and buttes of rock, magnificently sculptured, standing isolated and aloof, dark, weird, and lonely.

Therein lies the joy, sweet and also vague, the secret of the wonderful sensations of strange familiarity with wild places. The origins of the cowboy tradition come from Spain, beginning with the hacienda system of medieval Spain. These hearty pioneers of the Southwest interacted with and relied on an unfamiliar environment, utilizing storytelling in order to pass on memory, spark imagination, and make sense of their relationship to this harsh earth.

A native Texan, Elizabeth began her piano studies at the age of six at the Dominican Convent in Houston. She won her first piano competition at the age of nine and performed and competed in local and statewide events. Elizabeth was a Piano Performance major at the University of Southern California where she earned her degree, and was a three-time winner of the Hollywood Alumni S.A.I Scholarship as well as a highly-coveted Teaching Assistantship in graduate school. She joined the Annie Wright Schools faculty in 1999 and has been an affiliate faculty at The University of Puget Sound since 1989. Much of her instruction is in piano and voice, but she also has directed dozens of regional theater presentations of plays and musicals. Elizabeth Naccarato’s previous recordings are Jarrell’s Cove (inspired by the coastline of Puget Sound near Seattle and produced by pianist Michael Gettel), North Sycamore (named for a street in West Los Angeles where she spent an early stage of her career, with special guests oboist Nancy Rumbel and saxophonist Richard Warner), Stone Cottage (inspired by a special residence with a wild garden), One Piano (a collaboration with Gettel), History (combining some of her best work with both new and live performances), Souvenir d’Italia which was inspired by one of her favorite places, and now A Southwest Story, a tribute to the Southwestern part of the United States of America.

This newest album enhances the vision of the growing collection of exquisite piano interpretations of various aspects of specific locations and contexts, as well as life itself. Elizabeth Naccarato has achieved a noteworthy translation of the spirit of the land, its cultural history and the flavors and elemental aspects. Each note fits into a magnificent audio portrait of the Southwest, from the environment to how it feels to be there, a hot sun, spirits in the canyons, the languages and religious iconography are included in the melodies and musical forms.

Previous recordings by Naccarato include Jarrell’s Cove, North Sycamore, Stone Cottage, One Piano (a collaboration with Gettel), History, and Souvenir d’Italia, all available through her official website and Amazon.com.

Naccarato is preparing to announce upcoming live performances for this Fall 2022; watch her website and social media for the cities, dates and ticket links.

Music fans can link to buy or stream A Southwest Story from their favorite platform here: https://elizabethnaccarato.hearnow.com/a-southwest-story

Tracklist:
1 San Luis (4:42)
2 Wild Horses (2:58)
3 Sacred Land (5:08)
4 Mi Hito, No! (4:12)
5 Fandango (1:48)
6 Brown Eyes (4:12)
7 Spanish Dance No. 2 by Granados (5:25)
8 La Sierra (4:38)
9 Shrine of the Stations of the Cross (3:33)
10 The Vega (4:31)
11 Dusk (4:08)
12 Cowboy's Waltz (3:30)
13 Flower Moon (3:36)

Links:
WEBSITE: http://elizabethnaccarato.com/
SPOTIFY: https://open.spotify.com/artist/0REXjQLt79Pi2YZO31goUl?autoplay=true
YOUTUBE: https://www.youtube.com/c/Naccaratonetwork/videos
AMAZON: https://www.amazon.com/Elizabeth-Naccarato/e/B000APAEXS
FACEBOOK: https://www.facebook.com/elizabethnaccaratopianist
INSTAGRAM: https://www.instagram.com/elizabethgettel/
APPLE: https://music.apple.com/us/album/a-southwest-story/1632306586 more
Imagine the serenity of walking through mountaintop cloudbanks, and one gets a sense of Cloudwalker and the Ascent, the new release from Zero Ohms, releasing today on Spotted Peccary Music. Richard Roberts, the electronic ambient music composer behind Zero Ohms, takes inspiration from the western North Carolina mountains where he lives to create electronic textures and meditative flute melodies.

Music possesses the capacity for awakening a deeper part of the self within. As writer, painter, musician, teacher and producer, Richard Roberts follows what he has termed Tao of Zero Ohms (literally: way of no resistance). Zero Ohms aptly describes Richard’s palette of sounds, with flutes and woodwinds from around the planet interwoven with electronics, at once as ancient as it is contemporary. Playing wind-controlled synthesizers and over fifty various flutes, saxes, and other woodwinds, he embraces styles from around the globe and beyond. Zero Ohms is also a live performance artist: most recently, he performed at the Mountain Skies Electronic Music festival in North Carolina.

The way is clear – to listen while letting go – this is The Tao of Zero Ohms.

Cloudwalker and the Ascent is a climb to higher consciousness from a master of the genre. Each morning, he set out to hike the highest peak. Up there, the clouds hung so close to the earth he walked through them. One of Roberts’ friends nicknamed him “Cloudwalker,” and the album’s concept was born. With Cloudwalker and the Ascent, he has recreated this solitary space for the listener in seven pieces featuring shorter compositions and sparser arrangements than on his previous albums. While retaining the improvisations of prior Zero Ohms albums, Roberts uses minimal drones, overdubs, and fewer flutes. Roberts played only a 1954 HaynesSchwelm, a 1995 Armstrong bass flute, an Elemental Flutes Native American bass flute, and a vintage Roland JV-1010 wind-controlled synthesizer.

According to lost distant legends, the mountain is home to countless holy spirits and possesses an array of holy properties. Music can be an invitation to explore such a world while being good to it, discovering truly stunning treasures which might appear to sound as if they were suspended in the air. Listen to the most mind blowing colors, exploring the remains of opulent elevated palaces, temples, fortifications, markets and much more. Invest precious time soaking in the breathtaking acoustic views, structures appear to be cascading down the side of the steep, rocky cliffs. “I have tried to establish a sense of infinity and freedom, and the sense of timelessness that seems to come with it,” reflects the composer.

Flutes are possibly the earliest known identifiable musical instruments, often found in the deepest and darkest parts of some ancient caves, where the acoustics work the most potent magic. I do not think these once lost instruments will be found to have lost so very much of their original sonic fragrance and flavor. This ancient musical implement is sometimes called an aerophone, it is a reedless wind instrument that produces its sound from the flow of air across an opening. What I hear are multiple harmonics that sound as if we are in huge caverns, the sound is very big but not in a loud way, rather, the sound appears to be suspended in the air in a clever and delicate sustained calming way, this is deep listening you can follow into unknown territories. Zero Ohms adds his flutes and woodwinds to his electronic soundscapes and gets a very unique and serene, mellow and meditative sound, evoking gravity-defying remote places and fabulous scenery.

The music of Zero Ohms includes wind-synth tones skillfully blended to form his unique musical palette, coaxing ecstatic wanderings at once as ancient as they are contemporary, with flutes and woodwinds from around the planet interwoven with electronics and well placed savory-pungent acoustic spices. Zero Ohms (Richard Roberts) is a writer, painter, musician, teacher and producer, who follows what he has termed Tao of Zero Ohms (literally: way of no resistance).

Most of this new album, Cloudwalker and the Ascent, was recorded while living in a small community prosaically called Little Switzerland, due to its resemblance to an Alpine village. "I often walked to nearby overlooks that are breathtaking when clear but frequently were quite literally ‘in the clouds’ hence, I became Cloudwalker," reflects Roberts. The beauty of this place combined with the uncertainties of the pandemic produced a collection of seven concise improvisations which have the feel of naked solo performances. Taking advantage of interrupted sleep patterns, many of the tracks on Cloudwalker were laid down in the hour just before dawn, their inspiration distilled from dreams, often with the Moon & Venus smiling through the open backdoor of his cabin.

The first track sets the mood for this nebulous journey. "Cloudwalker and the Ascent" (5:57) the title track opens with the sound of a flute in a big chamber, drones and breath play with symmetry as well as dissonance, like a dream-shape. The fundamental force in the universe stimulating everything from atoms to animals to evolve and incorporate ever greater levels of quality, which can be heard in the cathedral-like depth and echo that haunts this flute, the notes, how distant and how dangerously they sway, the sound flies right up to the very clouds.

The composer reveals that he was inspired by Admiral Richard Byrd’s description of green, forested lands free of ice & snow which the Admiral observed ‘beyond the (north) pole,’ he called this magical and remote place “that enchanted continent in the sky” and the track "Unknownland" (2:45) is a science fiction blending of worlds, a pulsing atmosphere populated with mystical and acoustically astounding electronic flute-birds. This is my favorite track on the album.

Electronic dancing binary jewels near huge ultramarine crashing waves, rose-bedizened ringing bells pulse, "Vistas Beyond" (7:31) expands and encloses the listener inside a breath of warm melodic pulses. The next track's title comes from a Taoist tradition of seeking high, craggy, seemingly inaccessible places for meditation, "Tum Gaon (ascending to higher places)" (10:20). What I hear is a simple drone flute with just enough electronic enhancement, forming long sustained tones. The view of heaven flows mainly from observation and meditation, a single tone to soar and shimmer in the air, breath and open echoey space goes deep, this is the longest meditation on the album.

Maybe this echoey chamber, be it cave or cathedral, is bigger than we expect, the long sustained notes rise into the air on wings. This would be the abode of the Wind. A low drone immediately begins the ascent, very gradual and delicate. "Skybound (free from terrestrial bonds)" (9:20) allows us to imagine the biggest place to find an echo, immersed in the warm, contemplative groove. Seemingly conjured, when all at once afar off a little shining light. The sound sends us straight towards it, flute glowing blue, and there in the midst of the brightness to be seen, and headed for the sky.

Earthy spirits might dream of disappearing into sounds in the heavens, almost blinded by their splendor. "Deep Sky Tones" (5:22) features more of the science fiction electronics, yet also there is an ancient flute vibe, sort of a slow duet between the electronics and the ancient, one side does something slightly different than the other side, but they are both long sustained tones that flicker slightly sometimes, with a layered texture, a reverb feel, bringing to mind mythical entities, moods, and deeper musical meditations.

"Across the Seven Skies" (6:10) the earth trembles beneath and the sky is shaken as if the seven worlds and the seven heavens were mingled together, with almost a folktale feeling. A story told, a track that stands alone, climbing yet higher, spreading thinner & thinner, beyond the atmosphere, into nothingness, like the tempest coming, a massive ghost-cloud. Now our echo chamber goes from a cave to the sky, not just one sky but seven skies. Flutes use the air from our bodies to reach the cosmic force, creating a dreamy genre all its own. I hear several drone instruments blending and sounding in a way that might be similar to the power of the Northern Lights, eclectic blending in a free form and spontaneous air. “Just as the light of a full moon allows us to navigate a path through the darkness, Music allows us to find our way in the dark nights of the Soul.”

Zero Ohms began his musical path around the age of 11 when he began taking clarinet lessons. Four years later, he learned the guitar and got into singing and playing pop and antiwar folk songs. He lists Phil Ochs, Donovan, Richie Havens, the Beatles, the Moody Blues, Leonard Cohen, and Jethro Tull, but seeing and hearing a concert in which Paul Horn accompanied Donovan on the flute changed everything.

A flute produces sound when a stream of air directed across a hole in the instrument creates a vibration of air at the hole, and is sometimes called an edge-blown aerophone projecting marvelous melodies and deep improvs that are matchless, seamless, and timeless, ecstatic spiritual journeys reaching ever upwards.

This album provides a wide and ascending path, a staircase through the forest to the highest terrestrial places to find vistas over lush verdant fields and framed by distant mountain ridges. You might feel like you could wander freely across the top of the absolutely fascinating reliefs and discover hidden gems. Then you realize that this is all made of clouds. Seen from a distance, it looks like a golden sci-fi fantasy, remarkable for a vivid imaginativeness, a gorgeous play of fancy air. Swiftly flies the time, lost in a glimpse into the rich history & culture of an age of awe-inspiring structures intended to honor the first gods.

TRACKS
1 Cloudwalker and the Ascent
2 Unknownland
3 Vistas Beyond
4 Tum Gaon (ascending to higher places)
5 Skybound (free from terrestrial bonds)
6 Deep Sky Tones
7 Across the Seven Skies

LINKS

Multi-platform https://orcd.co/zo-cloudwalker

Spotted Peccary https://spottedpeccary.com/

Shop https://spottedpeccary.com/shop/cloudwalker-and-the-ascent/

Artist page https://spottedpeccary.com/artists/zero-ohms/

Channel https://www.youtube.com/channel/UCK5Dj1P5S492hrO1cpBw_ew

Bandcamp https://zero-ohms.bandcamp.com/ more
A sense of wonder permeates this album through its acknowledgment of oneself as a part of something greater. John Gregorius finds deep inspiration in the natural surroundings of his home in the Sonoran desert, crafting musical spaces in the spirit of mystery, simplicity, communion, and contemplative thought.

In Awe finds Gregorius taking his trademark ambient guitar sound in new compositional directions, using more verse, chorus and bridge structures to evoke a journey through the desert or along the shoreline. On the track “Light,” Gregorius’ guitar glimmers like the silver crests of sun-kissed waves. On “Here Now,” a yearning hook recurs like a question left unanswered. Wistful acoustic flourishes entwine and disentwine from the melody at the song’s stunning bridge. And beneath, drums – like footsteps in sand – march toward realization. “Open,” finds a subsumed kick drum emboldening movement, adventure, and exploration. Then – as quickly as it comes – the kick drum subsides. It leaves an aural clearing, like stepping through overgrown branches to find a sunlit meadow: a place to stand still and marvel.

All of the songs heard on his newest album on Spotted Peccary Music, In Awe, were written, produced and mixed by Gregorius himself, who plays guitars, keyboards, percussion and developed the drum programming. Sean O’Bryan Smith plays bass on all songs, Mitch Ross plays drums on three songs, Benjamin Fleury-Steiner created the synth bed for Everyday Miracle, and Kim Daniels contributes her wondrous ethereal vocals to three tracks.

Perhaps this music is a gentle reminder to pay attention, and that there is more to life than what can be empirically measured or scientifically observed. There is time to discover these beautiful characteristics emerging from within and slowly transfiguring us. It's hard to slow down and notice things in a busy world. Try to take the time to experience your environment with all of your senses - touch, sight, smell, taste and hearing. Be kind to your wandering mind.

The sonic worlds that Gregorius has created in his imagination are enchanted, not by magic or fantasy, but by an even more startling truth that ultimately cannot easily be put into words - the universe is a love note from God. The title track on the album, "In Awe" (5:28), is a melodic instrumental with ethereal vocals featuring Daniels and the tempo of Ross, who reinterpret the word-free tradition in meaningful and sometimes surprising ways, allowing the listener a space for meditation, contemplation, silence, solitude, stillness, and practicing the idea of universal cycles, such as day and night, to repeatedly restore light and life to a glimmering world.

Gregorius begins all his compositions with a guitar, a looper, and reverb. Each of these rich, immersive pieces was built from this simple foundation, with guitar loops forming much of the album’s background ambience. He recorded most of the album on an Ovation 1867, and a Paul Reed Smith electric tuned in Robert Fripp’s New Standard Tuning. The album features collaborations with vocalist Kim Daniels, bassist Sean O’Bryan Smith, and drummer Mitch Ross, as well as a synth bed from Benjamin Fleury-Steiner on “Everyday Miracle.”

In Awe springs from the idea that everything is miraculous. The result is a joyous blend of acoustic and electric, digital and analog, and – in Gregorius’ words: a “thank you for the beauty around us, and for the deeper purpose we can experience.”

"Spirituality has always been central to my purpose and music. In growing spiritually, I’m finding science and spirituality to be symbiotic and more miraculous with every discovery..." Gregorius continues, "I have no need to defend a specific doctrine anymore, but just celebrate that the same Divine Presence has always been here and available to all."

IN AWE is available in your choice of digital download format, either MP3 (320KBPS), 16-bit DC quality, or 24-bit studio master.

ABOUT JOHN GREGORIUS: Working from his home studio near Tucson, Arizona, guitarist and composer John Gregorius creates his own wonderful blend of guitar based ambient, acoustic, and melodic music that grows naturally out of a search for meaning within life’s mysteries. A master of finger style acoustic and processed electric guitar, Gregorius finds deep inspiration in the natural surroundings of his home in the Sonoran desert, crafting musical spaces in the spirit of mystery, simplicity, communion, and contemplative thought that allow the listener to slow down, feel comfortable, relax and truly appreciate the beauty of life’s often overlooked interludes. In Awe is John Gregorius’ fourth solo release on the Spotted Peccary label. His previous offerings on the label include Full of Life (SPM-1803), Still Voice (SPM-1802), Heaven & Earth (SPM-1801). https://johngregorius.bandcamp.com/album/in-awe

Multiplatform Link: https://orcd.co/in-awe
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David Helpling is a California-based musician, guitarist and keyboardist, recording artist and film score composer specializing in ambient music and electronic music. He sonically embraces listeners with his signature guitar sounds and textures, crafted synthesizers, powerful percussive pulses and rich multi-dimensional recordings. His production company is named DHM Music Design.

His new album IN started as a collection of new musical phrases and ideas that were kept together in hopes of becoming his third release. He had just released his second album, which is titled Sleeping on The Edge of The World. He muses, "Before I fully produced any of these ideas I began working with Jon Jenkins… 3 records and 7 years after that our epic trilogy was complete. It took another 8 years after that for me to create and build many of my original concepts and several new ones into what I felt was something special, powerful and my best work. Once I had everything close to what I felt was amazing I sent the entire project to the record label, Spotted Peccary Music."

Howard Givens responded with enthusiasm, but he knew that Helpling could make each piece truly special with some extra attention and the priceless presence of a new set of ears. They worked side by side to produce and mix the Sleeping album, and Helpling realized that moment was a perfect time for the duo to begin to plan to work together on a new project. All these years later, with Howard as co-producer, they took the entire double album from great to amazing. "I cannot describe in words what it felt like when the last track had a final mix," beams Helpling.

Imagine the vast universe as seen through a microscope, represented by symphonic cinematic electronica, through the electric guitar and keyboards, sometimes with transcendent ethereal vocals. This is the sound of unlocking the mysteries of dark waters, creation myths, and revealing things moving across the bright sky, bringing listeners the discovery of unusual and unexpected phenomena. Helpling brings his unmistakable style and dense sound sculptures to a deeper, more powerful and cinematic level.

Before Helpling released his trilogy of epic ambient collaborations with Jon Jenkins, before his shimmering guitar records A Sea Without Memory and RUNE — he had an idea that would evolve to become IN. It was inspired by the tiniest of places, when one square inch of forest holds a world of color and life, when a shard of lichen is a monument, a twig a skyscraper, an arm’s length a universe. What would that SOUND like? Helpling is an artist with a great sense of wonder, and IN captures the exploration of that magic space, as well as inspiring deep listening and introspection about ourselves.

Helpling embraced collaborations for IN, and wielded an impressive array of instrumentation, studio gear and synth on the album, including ambient guitars, the Sequential Prophet 6 Analog Synthesizer and the Waldorf Iridium Digital Polyphonic Synthesizer, and a 1981 Yamaha CP70 Electric Grand Piano, which summons a classic yet fresh organic sound. Matthew Schoening’s electric cello enchants on the track “You Already Are.” Famed Adiemus vocalist Miriam Stockley lends her rich, ethereal vocalizations to “Slipping” and “I Too Am Coming Home,” and multi-instrumentalist Benjy Wertheimer plays the Esraj, an expressive bowed instrument from India on “The Bliss You've Always Carried.” Vocalist Nidhi Bhatmuley gives a soaring performance on the post-rock flavored “This Burning Sky,” an emotional epic that evokes Hans Zimmer’s work with Lisa Gerrard. Through these significant contributions, Helpling has realized a macro-focus on his contemplation of life.

“A lot of attention was paid to detail, mixing and mastering the highly emotive music,” observes Bert Strolenberg of Sonic Immersion. In the New Age Music Guide, BT Fasmer adds that “IN is an exploration of that magic space: an expanse of delicate subtlety and minuscule vibrancy that suggests a poignancy of existence itself,” and a music review in The BEING Blog notes "Cosmic energy is at play. Helpling seems to be communicating with worlds far beyond ours."

Co-producer Howard Givens worked closely with Helpling to explore the hidden nuances of this album and elevate each piece to its final form. Portland fine art photographer Brandt Campbell captured IN’s micro-world in breathtaking macrophotography. Spotted Peccary’s creative guru, Daniel Pipitone, crafted vibrant collectible art, graphics, and packaging.

The visuals call for stunning music videos, and Helpling says he has at least three planned for the rollout. Johno Wells directed the first single's video, "Waves Dream of Breaking," and Helpling released an enigmatic teaser for "This Burning Sky." Spotted Peccary's official album video (below) shares music clips and a preview of the physical CD.

On March 16, Ambient Zone held a Sessions Video Release Party, an 55-minute interview with Helpling discussing the project, which can be heard at https://www.mixcloud.com/ambientzone/sessions-002-interview-with-david-helpling/

"I envisioned sounds and textures that I hadn’t created yet and I was determined to make each piece on the record a stunning work of art that could stand on its own. With such lofty goals, there were many periods of feeling rather defeated when things didn’t turn out as I had envisioned or I struggled to create all of the music that a piece was asking for." Helpling continues, "So, this giant double album was abandoned more than once as I felt so overwhelmed and broken down from the process. Every time I stepped away from it I came back with new energy and hope to get back to completing each piece and to achieve my own high standards."

IN was born from finding wonder in the tiniest of places, nature wrought in new colors. Places where a macro world of beauty surrounds, and micro budding plants and spores are towering colorful structures of a seemingly alien world; the greens and blues of tree and sky replaced by microbial fuchsia, garnished with luminescent folded violets. IN celebrates this notion in a deeply emotional and explosively powerful display in musical form and vibrational intensity as to bring awareness to the self in every listener, the unshakeable notion that going inward within the self is where endless magic, healing and inspiration is nurtured. Self love is more than confidence in one's own integrity, but an embracing of the blindingly bright initial spark that makes the entirety of one's own consciousness. And in doing so, loving that pure, kind and powerful “I am” that eternally burns brighter than any pain, loss or sadness of the human experience can mask. It has always been there and will never be extinguished.

From the first track, "Waves Dream of Breaking" (7:32), we are a gull, soaring wheeling and gliding over an endless ocean, sensing the shore and the sky, with amethyst, emerald and sapphire shades emerging as we soar above the realms of the sea.

Nidhi Bhatmuley has the power to elevate consciousness to the level of the divine, interacting and interlacing with the instrumental modalities which complement one another. Helpling's nimble fingers dance on guitar and piano, starting with gentle ethereal vocals and percussive sensations, enveloped in flames, only to be reborn anew, then breaks into a dive, soaring freely and then plunging upwards, the sun is bright and high and the vocals get more energized, new textures visit and vanish. So intensely expansive and so perfectly transparent is the surface of the deep, that we might believe the reflected surrounding universe to be a huge blue liquid ball, and our little spaceship is the one solitary material speck in all creation, floating in the midst of it. Under this gaze, the sky catches on fire. Sky and water merge into a perfectly clean horizon line, "This Burning Sky" (7:20) is an expression of the natural love of life, some inward motions of joy, represents cosmic energies and communication between worlds, fingers on guitar and piano starting off, with gentle ethereal vocals and percussive textures. Our gifted vocalist brings us into high altitude to dive, and then rise again. The sun is bright and high, the vocals get more energized, new textures visit and vanish, and I shiver all over. The radiant orb clears the eastern horizon.

Helpling first worked with Nidhi Bhatmuley when he created the film score for Trade Offs, which immersed him in the music of India. Bhatmuley's wildly expressive and emotional voice brings the character in the story to life. That track originally started with a guitar phrase… Helpling remembers that lonely, tragic piano melody, the chord movements and the synth textures followed it almost immediately. "Once I started working on the drums I really felt a story was being played out that was worth exploring. So with this new story in mind, I set out to create all of the different acts through music… almost like scoring a film that didn’t exist. I knew right away that this story’s one character needed a voice and Nidhi Bhatmuley was the only one I wanted to play the role."

The stunning part is that this surprising beauty is true no matter where you go as you listen. A pattern has been established, cycling melodies break open and gain more altitude, sparkling full orchestral strings sweep over us. My ears part liquid curtains that close again behind me, and my shadow fades swiftly under the water.

We soar ever onward, and these vast plains of sand seem endless. Full orchestral strings sweep over us, a melodic pattern is established, a sparkling and cycling melody breaks open and gains more altitude in "Only What's Been Taken" (6:26). The tiniest sounds are transmitted with a speed to which the ear is unaccustomed; I am always struck by the echo and reverb effects unique to this medium. This sensation is difficult to understand for anyone who has never heard sonic color so sharply defined, the sound of small, thin, white clouds with ragged edges, tinted with fine shades of ultramarine; then, off in the distance, it turns darker blue and fades in the midst of a hazy darkness. Above me, I can sense the calm surface of the ocean.

"Here All Along" (6:24), is denser than the atmosphere on land and almost as transparent, the guitar establishes a pattern, warm electronics build, electric guitar and keyboard scatters on high. Imagine the clouds colored in bright, wonderfully shaded hues, and that vision then slowly fades. Who else but guitarist David Helpling could portray the effects of this light through these translucent sheets of water, the subtlety of its progressive shadings into the ocean's upper and lower strata all the way into the infinite sky?

Melodic spinning bells are struck in a pattern, the guitar joins in, later electronic strings and interesting textures layer or just visit and vanish. Its variety is infinite. "Still As Stone" (6:12) brings sparkling and spinning melodic small bells or chimes, the guitar joins in, later strings and interesting textures layer until the music hits an open spot where things quiet down. There is no empty stillness, there is constant motion and metamorphosis, there is building density and then release returning to the bells and the patterns build and layer all over again.

And you thought rocks had boring existences. There is no empty stillness, actually there is constant motion and metamorphosis, there is building density and then release, returning to the bells and the patterns build and layer all over again.

On the sixth track, Benjy Wertheimer plays the Esraj, which belongs to the chordophones family of stringed instruments. This bowed sonic vehicle is usually heard only in the eastern and central regions of India. It is played upright like a cello with a bow. "The Bliss You've Always Carried" (8:00) is a call and response in the ocean of bliss, fingers on electric guitar strings make patterns, which take form, melodic rainbows weave around the bowed instrument, sounding at times much like a vocal glissando. Midway, a percussive shaker establishes itself. The solar rays easily cross this aqueous mass and disperse its dark colors. Somewhere around midway a percussive shaker establishes itself; planets, moons, stars, nebulae, galaxies, and comets all seem to emerge through this magnificent and glorious universe bringing peace and pleasure to all who hear. This dazzling carpet is a vibrant mirror, throwing back the sun's rays with startling intensity. The outcome is an immense vista of reflections that penetrate every liquid molecule.

Multi-instrumentalist Wertheimer is equally accomplished on tabla, congas, percussion, esraj, guitar and keyboards. Helpling had only met Wertheimer through a friend a year or two before completing IN and fell in love with his vibe and artistry immediately. Wertheimer brought the sultry, seductive sound of the Esraj, an Indian bowed instrument, to this piece, which was composed just for his instrument to be featured in.

Miriam Stockley adds exquisite, haunting, ethereal vocals to the next track, absorbing every color of the prism of the sea, except its blue rays, reflecting the latter in every direction and supporting a wonderful indigo tint. "Slipping" (8:00) takes place in a huge open area, decorated with free fall electronica that is rescued by a pattern that comes along, tambourines shake and change happens, the density opens up then returns to the vocal colors. During this crossing, the sonic palette continually lavishes us with the most marvelous sights, intangible and authentic, carried with perfect distinctness in the midst of the floating electronica, starting from a distant point to cross through a huge open area, embraced by a pattern that comes along. Change happens, the density opens up then returns with the vocal colors.

Helpling glowingly reflects, "I reached out to Miriam Stockley in the mid ‘90s as a super fan (even more so now), but didn’t truly connect with her until Jon Jenkins and I were finishing the last record in the trilogy." Stockley has a distinctive solo voice that has graced several film and TV soundtracks including Lord of the Rings. "I had been talking with her on social media and asked her to sing on the title track and what she brought to the piece just brought tears to my eyes." Miriam brought her unmistakable soul-melting voice and techniques to “Slipping” with more sensuality and passion than I can express. She also plays an ethereal role as the shimmering choir and solo voice in the final piece on the album “I Too, Am Coming Home."

Heavy clouds pass above us, an icy studio sound forms and fades, modulated by the changing densities of the long oceanic swells, and breaking crests proliferating over the surface of the water. What creatures inhabit, or could inhabit, these regions?

Sometimes giving off a phosphorescent glow, drifting between a double ultramarine of sky and water. It announces the presence of a pack, or shoal, of ice. "The Cold Distance Between" (5:55) features a keyboard orchestra, continuing the big open sound of the astronomical soaring over the ocean and through the open sky, rolling slowly as the music sweeps along. Mists are rising from the cold surface of the water. The outlines of the continents allow the seas to be divided into five major parts: the frozen Arctic and Antarctic oceans, the Indian Ocean, the Atlantic Ocean, and the Pacific Ocean. To me this track evokes a frozen sea that opens up a new world of possibilities, now the travelers of time reach a summit of this half-crystal, half-meteor vessel, continuing the open icy studio sound, soaring over oceanscapes and rolling slowly as the music steps along.

Matthew Schoening's electric cello vibrates resonantly, it glides through the watery mass, tension builds and the vista expands. "You Already Are" (6:42) leaves us marveling at these beauties of sea and sky, after emerging like a flying fish, and falling back into the sea, making the glittering waves leap to prodigious heights. Matthew Schoening provides a warm safe blanket of inspirational and healing sound, reflective, refractive, and translucent, it saturates the air and gives such rays the appearance of luminous celestial objects and phenomena, all of which give way to vast spaces of deep and mystifying ambience. Tension builds, the vista expands.

Schoening creates a spiritual and illuminating sonic experience, he is a founding member of the internationally acclaimed world fusion ensemble Ancient Future. He has brought his signature Electric Cello to the epic “You Already Are,” a piece that was created specifically for him to perform on. Helpling said that "Matthew is like me, only using Cello instead of Guitar… he is so damn good and such an amazing artist."

The tenth track, or track 4 on disc 2, folds around what sounds to me like an mbira pattern, and expands into greater depth. At points the beat stops and leaves us shimmering in mid-air, the beat returns and the symphonic patterns build further, perhaps a piano replaces the mbira as the main instrument, "Following the Lines" (5:30). The edge of its light sweeps over the sea in an immense, highly elongated oval, condensing at the center into a blazing core whose unbearable glow, diminished by degrees outward.

Soon the glow no longer simply illuminates the water, it is liquid light, revealing the movements and the beauty of their forms, aerial arcing focus, bells and keyboards that build a melody that stops and starts, builds and releases, alive and at large, I couldn't help seeing the actual shadows of large birds passing overhead, swiftly skimming the surface of the sea. "Bending Towards the Night" (8:21) has a shimmering opening, featuring a high altitude electric guitar in an aerial arcing focus, with bells and keyboards that stop and start, they build and release silver synth zephyr bursts in sequencing lights, the track builds itself out deconstructs and in the end lingers as an endless reverberation.

What an indescribable sight, and what a variety of settings and scenery where these reefs and volcanic islands seem to dance "In Waves of Fire" (5:49). There, in natural wonder, the watery mass offers some thrilling and dreadful scenes to my ears. There is lots of motion, cymbals splash, bells chime and keyboards shuffle, beats stratify, the cycle builds and then explodes and soars into a wider, higher atmosphere.

A hierarchical structure of matter begins to form from minute variations in the mass density of space, and then brings supernova explosions, gamma ray bursts, quasars, pulsars, and cosmic luminous radiation. A keyboard, a shuffle beat, layers pull in more matter, and organize into groups and clusters of galaxies, then into larger-scale superclusters. There is lots of motion, cymbals splash and the cycle builds and then explodes and soars into a wider atmosphere.

What is the mind’s ultima Thule? What substance must be regarded as first, and therefore as the seed of the universe? What is the eternal Something, of which the temporal is but a manifestation? I imagine that it is the concept of home. The climax track, "I Too Am Coming Home" (6:44), Miriam Stockley provides refreshing reassurance, strength, affirmation, prayers, supernatural portents, angels, and in the end, the mists are dispersed under the action of the sun's rays.

Layers of clouds cloak the sky and leave only a few stars in view. Like the flocks of old Proteus, King Neptune's shepherd, herds graze, bigger and faster than any whales and without fear on the ocean's submerged immense prairies. The entire sky, although lit up by stellar radiation, seems pitch-black in comparison with the whiteness of these waters. As far as the ear can see, the ocean seems universal.

The ocean depths still remain a largely unexplored part of the planet, and form a relatively undiscovered domain. Sonic exploration is about making discoveries, searching for things that are unusual and unexpected, and there is nothing quite like flight: the freedom, the solitude, the beauty. And with the right wind, you can become one with the sky. At our feet: dazzling tracts of silver and white. Over our heads: a pale azure, clear of mists. The uneven surface of the ocean is due to localized gravity effects from mountains and valleys along the depths.

The deepest parts of the ocean are essentially unknown to us. What goes on in those distant depths? Above, the sun shines fiercely in the sky, a ball of fire blazing, invoked by strong studio craft and a superhuman focus on technical precision. This magnificent radiance comes from some force with a great illuminating capacity. In the midst of this placid natural setting, sky and ocean compete with each other in force and tranquility, the sea offers the orb of night the loveliest mirror ever to reflect its image. The listening experience is about making discoveries, searching for things that are unusual and unexpected. Exploration is key to increasing our appreciation of the world of sound.

As I have observed once before, during the release of his previous album Rune, chasing the Ambient Guitar dream is a big one, and Helpling absolutely loves working with synthesizers and samplers. Ancient scholars were forever trying to describe the world, and they came up with their own explanations for why. IN is magnificent and direct, a close up observation, forever unlocking the mysteries where the wonder and excitement of exploration comes from. There is so much love in this music, we trust Helpling to take us to previously unencountered places, some are microscopic and within us, many of them are in deep space, some are under the sea; we venture with him to explore some places in unknown and extraordinary zones or regions of a universe previously hidden, where sometimes dwell huge slow curious creatures no human has ever seen, answering the calls of gigantic celestial whales, and places where shimmering colors progress through rainbows of delight for the ears. You will be rewarded by the wonders emanating from this kaleidoscopic sonic hall of mirrors, IN.

As an accomplished and highly sought after composer of music scores for film, David Helpling is continually honing his compositional skills. “Creating music for film and video projects is wonderful and rewarding…but it also has its limitations. I think the emotional writing and technical experience of scoring certainly gets me closer to the core of what is important in my own music.” As a young teen, David Helpling pushed himself to learn guitar – experimenting with various effects and signal processors to create illusions with sound. Together with his passion for synthesizers and percussion, this guitar sound became centric to a complete vision and musical style that expresses sonic moods with a definite soundtrack feel. “Music is always in my head. That’s how I write. I’m always dreaming.”

My last question, as I gather my quickened thoughts about the Brobdignagian music I have just encountered, "Next?" To which Helpling replies, "I want to make an entire record using only the female voice… multidimensional, special processing and powerfully emotional."

IN
Spotted Peccary Music
https://spottedpeccary.com/shop/in/


TRACKS
DISC 1
1 Waves Dream of Breaking
2 This Burning Sky
3 Only What's Been Taken
4 Here All Along
5 Still As Stone
6 The Bliss You've Always Carried
DISC 2
1 Slipping
2 The Cold Distance Between
3 You Already Are
4 Following the Lines
5 Bending Towards the Night
6 In Waves of Fire
7 I Too Am Coming Home


Links:
Artist Website & Social Links: https://davidhelpling.com/
IN Smartlink: https://orcd.co/helpling-in
Spotify: https://open.spotify.com/artist/07E8fEXel4D6n9CxV2kF7G?si=o1qcUeozSge6WU-L3IgANw
Spotted Peccary Album Page: https://spottedpeccary.com/shop/in/
Bandcamp: https://ambientelectronic.bandcamp.com/ more
Jeff Greinke is a musician, composer, performer, and sound sculptor who is known worldwide for his unique sound. Through a highly developed process of layering, Jeff composes and performs music rich in texture, depth, mood, and subtle detail. Using various acoustic and electronic instruments, found sounds, and extended studio techniques, Jeff sculpts soundworlds that conjure a strong sense of place, hovering somewhere between the exotic and the familiar. With numerous releases to his credit, Greinke has been an active artist for more than three decades and has composed music for film, video, dance, theater, radio, and art installations.

All of the sounds heard on Jeff Greinke's new album Noctilucent are electronic, made by keyboards with samples, forming textures and atmospheric presences. Noctilucent is a word used in meteorology to define a rare type of cloud phenomena, called night shining clouds, which occur in the upper atmosphere, higher than any other cloud. They exhibit tenuous wavy patterns, are silvery or bluish white, and are typically visible on summer nights in high latitudes.

Making music is by far Greinke's greatest passion, nature has informed and shaped this work in subtle but significant ways. He has a seemingly insatiable drive to be in the studio and work with sound. He puts a tremendous amount of care into this work, the joy of creating music brings out all the glorious colors of his beautiful range, deep blue and purple in the shadows of the peaks, green and brown where grass and rock mingle, and an endless perspective of jagged rock and pointed crags, until these are themselves lost in the distance, where the snowy peaks rise grandly over the desert gardenscape.

“This collection of works is the result of my first foray into using virtual instruments. Up until recently my studio had remained fairly static since the early, mid-90’s. I started to upgrade my gear slowly a couple of years ago, then early in 2021 began exploring plugin instruments, primarily a variety of synthesizers I obtained through Native Instruments. I found having access to several new instruments at once, with seemingly infinite capacity to manipulate sound, to be incredibly inspiring.” Greinke continues, “My process has been consistent over the years. Most of my music is made without the pressure of a deadline. This affords me the luxury of being able to just fuck around with sound, searching for sounds that interests me, honing in on that, and then layering new sounds from there until something evocative starts to take shape. I take my time, sometimes tweaking things for days or weeks even. I think I’ve gotten pretty adept at knowing whether or not a particular sketch has promise. Anything short of that gets discarded rather quickly. In that way, my success rate in completing tracks that end up on an album tends to be pretty high.”

“This album verges more toward what I consider to be ambient music than anything I’ve done in decades. My focus was on creating soundscapes rich in texture, evocative moods, and abundant three-dimensional space. Melody and more conventional timbres such as those created by traditional acoustic instruments, which had become a greater focus of mine in recent prior years, have either retreated further into the background or are absent altogether. All of the music was electronically produced. I found it refreshing and somewhat liberating to go back to exploring sounds using synthesizers to sculpt my soundworlds, with the expansive palette those instruments provide and abundant opportunity to manipulate sounds. “

The overall mood is subtle, the sound is primed for interpretation, like the clouds, with a huge vista appearing solid while being gentle. The music possesses a quite extraordinary range of different timbres and vibrates along with the air inside it. "Unrest" (4:31), a sound heard when the falling sunset threw into strange relief the ghost-like clouds which amongst the hidden mountains seem to wind ceaselessly through the valleys.

An ocean is a body of water that composes much of a planet's hydrosphere, extraterrestrial oceans may be composed of water or other elements and compounds, and there could be evidence for the existence of oceans elsewhere in the solar system. "Of the Deep Sea" (5:02) brings purring leviathans and odd toothy monsters of huge sizes. In the distance, a bell, bobbing loose on the waves, sounding sometimes nearer and sometimes farther. For the track titled "Tunnel" (5:34), sounds emerge from the dark opening ahead. The tension beats like a railroad track, and luminous spectra are frequently seen. Here inside the mountain, impulse will always tremble at the sound of the hidden and fathomless worlds of strange life which may pulsate in the gulfs.

The title track, "Noctilucent" (5:43) provides a sense of granular motion, perhaps a distant foghorn glows, conditions which will produce one sound-color round the margin of the cloud, and that color mixed with others, and so giving rise to other tints, farther in; at this specific unfolding altitude -- the texture is very complicated.

The final track, "Undercurrent" (7:16), leaves us with views of the stars, galaxies, nebulae and clusters we look at during every season of the year. The light from the tiny lamps falls on all sorts of odd forms, as the rays cross each other, the opacity of our bodies throws great shadows, and they are gorgeous.

Composers sometimes seek new timbres, and Greinke is a time wanderer. There are no markings on the night sky, though there exist many sky maps to aid stargazers in identifying constellations and other celestial objects. All of the music heard on Noctilucent was composed, arranged, recorded and produced between May and October 2021 by Jeff Greinke at Another Room, Tucson, Arizona, and was mastered by Howard Givens, to be heard by any and all intrepid listeners by way of Spotted Peccary Music.

Noctilucent is available exclusively in digital format.
https://orcd.co/noctilucent

TRACKS
1 Unrest
2 Around the Corner
3 Of the Deep Sea
4 Into the Night
5 Tunnel
6 Sinking
7 Noctilucent
8 Refractions
9 Undercurrent

NOCTILUCENT is Jeff’s fifth release on the Spotted Peccary label. His previous SPM releases include OTHER WEATHER (SPM-3702), BEFORE SUNRISE (SPM-3701), VIRGA (LSM16), and WINTER LIGHT (LSM09). Jeff’s music can also be heard on numerous compilation recordings. Enjoy his SoundQuest Fest (March 28th, 2021) performance on YouTube at https://youtu.be/qZsavlFPbxI and more at: http://www.jeffgreinke.com/

About Spotted Peccary Music:
Portland-based Spotted Peccary Music is North America’s finest independent record label with a focus on deep, vast and introspective soundscapes. For over three decades, the artists of Spotted Peccary have been on a mission to develop, produce, publish and release ultra-high-quality, deep-listening experiences that engage the listener and exceed expectations. Every release is carefully prepared in a variety of high quality formats from MP3 to high-res studio masters. Explore more than 165 titles and 45 artists released over 35 years of excellence at www.SpottedPeccary.com and www.AmbientElectronic.com.

Links:
Smartlink: https://orcd.co/noctilucent
Spotify: https://open.spotify.com/album/0aUDyR5GWN3KWrt2SOaRyv?si=UmAqQ9xKQuWEg_zcf276sQ
Spotted Peccary Album Page: https://spottedpeccary.com/shop/noctilucent/
Bandcamp: https://ambientelectronic.bandcamp.com/
Instagram: https://www.instagram.com/spottedpeccary/

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