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The track is taken from their upcoming full length album Illusional Gates. Insolvency have spent the last years furiously building a name and reputation for themselves across their homeland with their energetic metallic assault.
Illusional Gates Tracklisting:
1.Blindness
2.Torn Away Inside
3.The Endless Maze – Feat. Ryan Kirby of Fit For a King
4.Mirage
5.Illusional Gates
6.Last Call
7.Another Fate
8.Stranger World
9.Smother the Candle - Feat. CJ Of Thy Art Is Murder
10.Oversight
11.Afterlight
12.Fade and Flow
Album Credits:
All Music and Lyrics written by Insolvency
Guitars, Bass, Vocals recorded by Insolvency
Drums Recorded @ Le Stüddiöh (Fred Raby)
Keyboards by Pierre Le Pape and Insolvency
Mixed by Jim Pinder - Treehouse Studio UK (Bullet For My Valentine, While she sleeps, Bring Me The Horizon, Lotus Eater)
Mastered by Tyler Smyth (Falling In Reverse, I Prevail, Blessthefall)
Art Work by Kevin Ferreira
“This song deals with all the choices we make but that kills us slowly. Being overconnected but the same way, far from the reality, makes us live in a fake world. “Blindness” deals with its fake reality of life through social media, and the importance people give to it, so involved in this “mental prison”. When we’re on the web, we see the world through our screen, thinking we can understand everything, but it's like watching another world, where reality is polished and transformed.”
- Insolvency
For fans of While She Sleeps, As I Lay Dying and Architects their music and stage presence delivers a wide range of metalcore ethos that make them the frontrunners of the new metal scene. The band have appeared at various festivals across Europe, smashing stages with the likes of Shining, OTEP, Decapitated, Napoleon, No Return, Smash it Combo, Atlantis chronicles, and FRCTRD. They closed their first chapter by playing at Hellfest 2019 and since then the band has been dedicated to songwriting, recording, and producing their new album Illusional Gates.
“Blindness” was written by Insolvency. The music video was directed by Brice Hinker (Smash Hit Combo), mixed by Jim Pinder (Treehouse Studio UK), and mastered by Tyler Smyth.
Insolvency’s “Blindness” is out November 19, 2021, with a full length to follow in the coming months.
Watch the official music video for “Blindness” HERE
Listen to “Blindness”
https://open.spotify.com/track/3rZB6ANbDnpsElYFSspmjQ?si=U5qcGmy9S2emB_aTRltDUg
The group has also started a crowdfunding campaign offering to coincide with the release:
Album Packages : Digital, or Physical signed albums
Tee-shirt Packages
Musician Packages (Tabs for any instruments)
Extra Packages : Private listening party (France only) and Gigs invitation (France / europe only)
Upcoming Tour Dates
TBA
Follow Insolvency:
Instagram | Twitter | Spotify | Facebook | Youtube | Hi-Res Photos
About Insolvency:
Insolvency is a Metalcore band that can pick and choose from different styles and genres to create a sound uniquely their own. The band have appeared at various festivals across Europe, smashing stages with the likes of Shining, OTEP, Decapitated, Napoleon, No Return, Smash it Combo, Atlantis chronicles, FRCTRD. In 2015, guitarist Bruno Blackstard was selected to play alongside Children of Bodom maestro Alexi Laiho in Helsinki during the 100guitarsfromhel Festival.
After a self released EP, the band hit the studio to record their debut album “Antagonism Of The Soul” in the UK with Jim Pinder and Carl Bown (Bullet For My Valentine, While She Sleeps, Machine Head). The result is a whirlwind of Blackstard & Valentin Gondouin’s elastic guitar work, soaring melodies and drummer Mickaël Tamario’s frantic assault; all pinned together by the double vocal barrage of Gondouin & bassist Pierre Challouet.
Insolvency first started to garner media attention with their music video “Antagonism Of the Soul” which exclusively premiered with Metal Hammer. This track was featured also on Metal Hammer’s Sound Of Metal Compilation of April 2018. The band started 2018 with a French tour followed by gigs in Poland, Belgium and a UK Tour. They closed their first chapter by playing at Hellfest 2019 and since then the band has been dedicated to songwriting, recording, and producing their new album Illusional Gates. During the process, the band welcomed Prosper Duffours as their new drummer.
Watch video here --> https://www.youtube.com/watch?v=tyKPAcIJoaA
Recorded in three studios with three drummers, including Brian Ossip and Daniel Vincent, over the past three years by Tommy Cormier at Greenpoint Recording Collective, Jeff Berner at Studio G Brooklyn and demo tapes at Stanhope Cellar Studio, this more evolved, psychedelic-infused collection is not quite a swansong and not quite a rebirth after a decade of American Darlings. Think of it as the aptly titled, Afterglow.
Listen to the album via:
https://distrokid.com/hyperfollow/americandarlings/afterglow
American Darlings share:
We're super stoked to share the stage with our long time friends, The Planes and Clone (Dead Leaf Echo members' new dreamy-industrial-shoegaze group).
With a new sound that helps to build off their classic releases, their new record is a magical and captivating collection that closes out 2020. On the record the band is truly at their best, as they once again have outdone themselves. Overall the captivating melodies, stand out vocals and intricate instrumentation, bring a vibrant and eclectic sound to life.
Purchase tickets via:
https://www.ticketweb.com/event/american-darlings-record-release-knitting-factory-brooklyn-tickets/11108425?pl=bkf
https://bk.knittingfactory.com/event/tw-eventinfo/American+Darlings+Record+Release/11108425/
Their new track, “Now I Don’t Mind,” is a high energy, melodic dance track that discusses the ability to find your voice and stand up for yourself by taking ownership of your choices — regardless of how others may feel about them.
Watch the video here: https://www.youtube.com/watch?v=HZ2qQp8tNLk
Zoocrates music is a combination of alternative rock-pop, indie pop, dreampop, electrorock and acoustic music. Bug in the system is a journey through different aspects of the mind. It leads us to disruptive realities as a search for self-acceptance and connection with our emotions.
Listen to the album here: https://soundcloud.com/zoocratesmusic/sets/bug-in-the-system/s-BBActNc0g2Q
You can now pre-save the album on Spotify - it will then be automatically added to your Spotify library when it is released! Follow the link below to do so:
https://distrokid.com/hyperfollow/krilja/krilja
You can also pre-order the album on iTunes. Follow the link below to do so:
https://music.apple.com/us/album/krilja/1588625902?uo=4&app=itunes
If you prefer to purchase a physical copy of album, you can do so from the web shop on our website. Please send an email to liljansmusik@outlook.com to pre-order your copy today!
Excerpts from the remix can be heard here:
https://soundcloud.com/kriljamusic/sets/krilja
“Unsafe” is a gentle, harp led incantation sung from the perspective of a sexual assault survivor addressing her abuser in court. She wants to subject him to extreme vulnerability to understand her experience and feelings.
Gentle Party chose to visualize the prejudice that people can carry towards survivors by veiling the video’s actors in different colours. Their veils match the guilty party’s in the beginning of the video, but by the end they are removed to reveal teal coloured veils - the colour used to represent sexual assault awareness.
Watch the video here:
https://www.youtube.com/watch?v=i_z7eCoGBCc&t=1s
This track is an earnest folk song, buoyed by gentle mandolin and strings, which captures Sures’ acceptance of the new reality which we experienced at the onset of the pandemic.
Sures combines lighthearted nihilism with bemused empathy and a self-awareness that brings hope and comfort.
Dive in via:
https://soundcloud.com/ben-sures/01_end-of-the-world/s-nCs2wLNV2jn
Juan Sánchez performs live at venues in and around Barcelona and the Catalonia region of Spain whenever possible; he hopes to perform in the U.S. in the coming years. The prolific producer and pianist's epic new piano-driven album incorporates synthesizers, strings, and ethereal vocals for a relaxing yet modern sound.
In his twenties, he lived in London and performed with live bands before returning to Spain. In 1999, he retreated to the studio to make instrumental ambient electronic music, and since then he has been creating music for multimedia and sound libraries for music producers.
His life began to change when he discovered the emotive music of ambient piano artists Max Richter and Ludovico Einaudi. He fell deeply in love with their compositions. They were different from the others, using the piano as the main instrument, and sometimes mixing classical music with electronic sounds. He started searching for similar music, and discovered other artists such as Nils Frahm and Olafur Arnalds, Joep Beving and Hania Rani. This was the push that he needed to begin composing his own music in the neo-classical/ambient genre.
In March of 2019 he released the single “Rebirth” on Spotify which quickly began to accumulate attention, as people began adding it to their public and personal playlists. That led him to release his first album, also titled Rebirth, in September of 2019, which quickly elicited dozens of positive listener comments and music-usage requests by YouTubers, likely due to the highly-emotional appeal of the music. Juan loves to collaborate with filmmakers and fellow pianists, and as his music spread, he was delighted to welcome fans of solo piano, contemporary piano, classical crossover and new age music to his eclectic online following.
Juan’s next studio work evolved during the worldwide pandemic lockdown in 2020 and is titled “Now The Silence,” a reflective musical journey through moments of hope as well as despair, featuring arpeggios that seemingly float in the air.
His dream as an instrumental music composer is to tell his own stories without lyrics which allow people to connect with the music on an emotional level. He does not want people to only listen to his music, he wants them to feel it and connect with it. As a pianist, he hopes to play live concerts around the world in the coming years.
"To hear music is one thing, but to feel it, it’s just another. I prefer to feel the music as when I only listen to it, I do not get the same level of satisfaction." On a deep level, music is language for emotion. It allows us to express feelings that we can't quite express or feel with language. Music is also a feeling and story. "When I was really little, my parents would turn on a cassette tape in the tape player in my room for me to fall asleep to. Only it didn't exactly help me fall asleep--I would stay awake listening to it because I would imagine a story to go along with the music on the tape. The entire album was one big story with my own imagined characters."
He is now working on his third album, Touch & Sound, to release in October 2021. He always experiments, and with this third album, he is exploring the combination of ethereal female voices mixed with synthesizers, while continuing his passion for the sound of the acoustic piano in different settings.
Juan was a semi-finalist in Spain’s famous MIN Independent Music Awards, and holds the distinction of being the only classical music nominee who composed, performed and submitted original music to the classical field.
In 2021, Juan joined the Latin Grammy organization, and submitted his album Now The Silence for consideration in Best Instrumental Album and Best Contemporary Classical Composition.
Sánchez always experiments, he is a classical musician falling in love with Ambient/New Age electronic music. Touch & Sound has an astonishing and nourishing 17 tracks. This time he is exploring the combination of strings and ethereal female voices, while continuing his passion for the sound of the acoustic piano in different settings. There is the most subtle electronica present in many places, but the sound is stories told on a solo piano without lyrics, created to allow a connection with the music on an emotional level. Listen to the generous epic sounds exploring notions of time, childhood, the moon, the rain, piano with a duduk, a lullaby, the discipline of calm, international human rights, a candle in the window, the afterlife, under the ocean, living by the sea, the air, daybreak, water mixed with sky, an unclad piano, and dreams.
In the studio are some very special and talented producers and mixing engineers: Runar Blesvik, Simon Teece, Miguel Mendoza and Bruno Sanfilippo. They have helped Juan to shape the sound he was looking for on this album.
I had the opportunity to share some words with Juan in October during an extended summer. "Here in Barcelona we are having the same weather, we call it 'October's Summer.' For me, this is the best season of the year." He provided some of his thoughts about making the album Touch & Sound as well as the gifts of life. You can find the music here: https://smarturl.it/oulvfp
"I consider the time I have to be one of the most important and precious of gifts you can possibly have, so I try to use it wisely. We can earn the money we spend but we cannot get back the time we have lost. So, this makes time more valuable than money. Also, we should use time for our good as well as for the good of others around us. This will help us and the society to progress towards a better tomorrow. Moreover, we should teach our children the importance and value of time."
The first track, "Sands of Time" (6:32), is a composition about the steady unstoppable advancement of time, featuring the timeless voice of soprano Morgane Matteuzzi. Juan uses very interesting keyboard phrasing, hurrying and then slowing to a pause. The vocalist and synthesizers blend, water flows, heights are reached, the sands of time are running out. The term “The Sands of Time” comes from the sand used in hourglasses, an ancient way of measuring time, scattered with unanswered questions, questions that imply – unthinkably to the young romantic – that love and goodness may be illusory.
More about Morgane Matteuzzi: https://www.morganematteuzzi.com/
"Those Fridays" (4:56) is pure piano, weaving a story. Juan reflects, this is a "nostalgic piano piece about how happy I was as a kid when it was Friday. For me, Friday was the best day of the week as it meant the beginning of the weekend. I used to hate going to school, so I was always looking forward to Friday to arrive and to feel the freedom of not having to go to school for two days. Friday nights were also magical watching TV programs or listening to music until late, knowing that the next day I would not have to get up early."
The title of the next track is "Piga Al Cel" (7:07), and is my personal favorite in this collection of beautiful and emotional piano personal favorites. The song name is a Catalan language expression that in English means “freckle in the sky.” Juan shares, "This is how my sister as a child used to describe the moon, she said that the moon was a freckle in the sky. I always found this description of the moon so sweet and tender that I wanted to write a song about it."
As a listener, what I like is the special razor’s edge sound, both violinist Mirela Nita and the mechanical aspects of the piano blend into the construction; we can hear the felt hammers gently move against the strings, it is a natural force that cannot be resisted.
More about Mirela Nita: https://www.facebook.com/MirelaNitaMusic/
Vocalist Nacre is floating above the piano notes on the track "For When It Rains" (5:12), haunting cycles with a message of hope for all the people who are struggling with depression and sadness, there is always a light at the end of the tunnel. It was Oscar Wilde who said "When it rains look for rainbows, when it is dark look for stars."
Nacre brings her vocal melodies without lyrics, which leave ample open space in the musical atmospheres she creates, stimulating the imagination and the instincts within the ear. She finds inspiration in Gregorian chants, French melodies and film soundtracks. Learn more about the vocalist, Nacre: https://www.nacre-music.com/
The duduk, sometimes called the tsiranapogh, is an ancient double reed woodwind instrument made of apricot wood, originating in Armenia. This unusual instrument is known for a rich and haunting sound. Duduk player Ilia Mazia with Juan evoke a night of the unknown with secrets, "A Nocturne" (5:08). All of the internal turmoil and uncertainty of being in love is captured in this music – a turmoil and uncertainty that prefers the darkness at its backdrop and only briefly recedes during daylight hours.
More about Dudukahar Ilia Mazia: https://www.airgigs.com/user/iliam
We all sometimes seek respite from the complicated world of noise and stimulation, perhaps longing for a simple and soothing moment away from the frantic world. "Lullaby For A Frantic World" (4:47) is Juan's contribution to make the world a happier and healthier place by composing a lullaby. "I just really wanted to create a simple but very soothing piano and strings piece that people can listen to and hopefully find a moment of peace in this frantic world." I hear a special violin, strings and piano, peacefully welcoming us into the realm of rest and tranquility.
The word Ataraxia refers to achieving mental peace and happiness by controlling positive and negative emotions, a state of mind that is characterized by tranquility and the total absence of desires or fears. The concept of ataraxia is to achieve mental peace and happiness impossible to alter by controlling positive and negative emotions. "Ataraxia" (4:16).
The composition “Human Rights” is dedicated to The Universal Declaration of Human Rights (UDHR), a milestone document in the history of human rights. The sound is piano unified with strings, bringing spiritual strength and persistence. "Human Rights" (6:05), features cello player Yoed Nir. I hear empathy and compassion, reliable and comforting, simply beautiful, it can almost embody our love/hate relationship with humanity itself: our creativity, hubris and invention pitted against criminality, pollution, greed.
More about Yoed Nir: https://yoednir.com/
The Universal Declaration of Human Rights (UDHR) is an international document adopted by the United Nations General Assembly that enshrines the rights and freedoms of all human beings. It was accepted by the General Assembly as Resolution 217 during its third session on 10 December 1948 at the Palais de Chaillot in Paris, France. https://www.un.org/en/about-us/universal-declaration-of-human-rights
In the distance after the sun has gone down there is the light of a lonely candle in the window so far away, "Into The Night" (5:10), piano with ethereal vocals by soprano Caroline Joy Clarke.
More about Caroline Joy Clarke: http://carolineclarke.net/
What is that light? Some people say that you are not only your body but you are also your soul. After the death of your body, your soul lives on in a world beyond the physical world. "Where Are They Now?" (5:17) is dedicated to the great afterlife mystery. Cello player Daniel Frankhuizen joins Juan, wondering about the past, and friends from times gone by.
More about Daniel Frankhuizen: https://www.danielcello.com/
"Le Grand Bleu" (4:23) with soprano vocalist Kirine, electronic strings, piano and the spirit of the water, inspired by the film "The Big Blue" by Luc Besson. The film is about the freediving world, filmed in the French Antibes, the Greek islands, Peru, and Taormina in Sicily. The film's undersea footage has a powerful otherworldly quality, much as if it were unfolding in outer space, as indeed it might be. It shows how vast the ocean really is. The unique underwater world is both beautiful and dangerous as well as very magical as well. It is as if the action and music were unfolding in outer space, asking the question, how vast is the ocean?
More about Kirine: https://www.facebook.com/Kirine1111/
The term "Paralian" comes from ancient Greek origins, meaning "one who lives by the sea.” The outstanding "voice" of cello player Liz Hanks joins Juan, making their way along the rocky path on the cliffs high over the comforting and vast blue ocean. "There are a million and one things I take for granted in my life, and living within 10 minutes of the Mediterranean sea is definitely one of them. There’s nothing quite like being able to pop down to the beach in a heartbeat whenever you need it. Because of this, I think it’s one of the best places to go to feel closer to nature and connect with the planet, more so than anywhere else." This track is titled "Paralian" (4:15), where dreams come true, and love can be found at the top of the sky.
More about Liz Hanks: https://www.lizhankscello.com/
The air takes on a sense which draws out the crucial themes and imagery, using piano and a choir of ethereal wonder, "Astral Voices" (3:08), creates a pinnacle of musical drama that realizes unknown aspirations and yearnings. The bright light would shine on the stillness of the early morning, "When Daybreak Comes" (6:42), piano and strings employ music instead of words telling the story to accentuate the unspoken passion. With another reference to water and its neutrality and the expected and natural flow, "Immersion" (4:04) comes cascading, a blend of piano and strings with a repeating haunted melody, you can feel the music swell and overcome you and play out into the distance, water and sky together forever.
With a nude piano, hesitant and shy, but not escaping, "Astral Voices (Solo Piano)" (3:12) is a fairy tale about experiencing the invisible worlds, perhaps a symbol of a truly natural and earthy source.
The mood starts unsteadily and eerily, the title track, "Touch & Sound" (4:21), when electronica gently touches the piano and reaches us in our dreams, crossing over from reality to create an amazing atmosphere anchored in the depths of the sound of desires and more importantly cravings, the melody becomes human enough to weep and despair, to talk and to aspire.
Touch & Sound is a piano-driven album with increased instrumentation like ethereal female voices, subtle synthesizer backgrounds and string arrangements, proving that sound can expand consciousness. With the syncing of these two diverse worlds comes the ultimate journey to transcend current time, space and reality, with the songs acting as mood shifters so any atmosphere can be created.
Juan Sánchez is a composer living in Barcelona, Spain; currently, he is primarily focused on the piano. In his twenties, he lived in London and performed with live bands before returning to Spain. In 1999, he retreated to the studio to make instrumental ambient electronic music, and since then he has been creating music for multimedia and sound libraries for music producers.
In March of 2019 he released the single “Rebirth” on Spotify which quickly began to accumulate attention, as people began adding it to their public and personal playlists. That led him to release his first album, also titled Rebirth, in September of 2019, which quickly elicited dozens of positive listener comments and music-usage requests by YouTubers, likely due to the highly-emotional appeal of the music. Juan’s next studio work evolved during the worldwide pandemic lockdown in 2020 and is titled Now The Silence, a reflective musical journey through moments of hope as well as despair, featuring arpeggios that seemingly float in the air. He does not want people to only listen to his music, he wants them to feel it and connect with it.
Touch & Sound achieves that connection with grace and serenity. This is a timeless album which brings an inspirational feeling of peaceful insight.
TRACKS
1) Sands of Time
2) Those Fridays
3) Piga Al Cel
4) For When It Rains
5) A Nocturne
6) Lullaby For A Frantic World
7) Ataraxia
8) Human Rights
9) Into The Night
10) Where Are They Now?
11) Le Grand Bleu
12) Paralian
13) Astral Voices
14) When Daybreak Comes
15) Immersion
16) Astral Voices (Solo Piano)
17) Touch & Sound
LINKS
https://smarturl.it/oulvfp
https://juansanchezmusic.info/
https://www.youtube.com/user/soundsforproducers
https://www.facebook.com/joan.sanchez.7334
https://open.spotify.com/artist/7hWXE61toZRP69BB1bQgDe
https://soundcloud.com/juansanchezcomposer
In his twenties, he lived in London and performed with live bands before returning to Spain. In 1999, he retreated to the studio to make instrumental ambient electronic music, and since then he has been creating music for multimedia and sound libraries for music producers.
His life began to change when he discovered the emotive music of ambient piano artists Max Richter and Ludovico Einaudi. He fell deeply in love with their compositions. They were different from the others, using the piano as the main instrument, and sometimes mixing classical music with electronic sounds. He started searching for similar music, and discovered other artists such as Nils Frahm and Olafur Arnalds, Joep Beving and Hania Rani. This was the push that he needed to begin composing his own music in the neo-classical/ambient genre.
In March of 2019 he released the single “Rebirth” on Spotify which quickly began to accumulate attention, as people began adding it to their public and personal playlists. That led him to release his first album, also titled Rebirth, in September of 2019, which quickly elicited dozens of positive listener comments and music-usage requests by YouTubers, likely due to the highly-emotional appeal of the music. Juan loves to collaborate with filmmakers and fellow pianists, and as his music spread, he was delighted to welcome fans of solo piano, contemporary piano, classical crossover and new age music to his eclectic online following.
Juan’s next studio work evolved during the worldwide pandemic lockdown in 2020 and is titled “Now The Silence,” a reflective musical journey through moments of hope as well as despair, featuring arpeggios that seemingly float in the air.
His dream as an instrumental music composer is to tell his own stories without lyrics which allow people to connect with the music on an emotional level. He does not want people to only listen to his music, he wants them to feel it and connect with it. As a pianist, he hopes to play live concerts around the world in the coming years.
"To hear music is one thing, but to feel it, it’s just another. I prefer to feel the music as when I only listen to it, I do not get the same level of satisfaction." On a deep level, music is language for emotion. It allows us to express feelings that we can't quite express or feel with language. Music is also a feeling and story. "When I was really little, my parents would turn on a cassette tape in the tape player in my room for me to fall asleep to. Only it didn't exactly help me fall asleep--I would stay awake listening to it because I would imagine a story to go along with the music on the tape. The entire album was one big story with my own imagined characters."
He is now working on his third album, Touch & Sound, to release in October 2021. He always experiments, and with this third album, he is exploring the combination of ethereal female voices mixed with synthesizers, while continuing his passion for the sound of the acoustic piano in different settings.
Juan was a semi-finalist in Spain’s famous MIN Independent Music Awards, and holds the distinction of being the only classical music nominee who composed, performed and submitted original music to the classical field.
In 2021, Juan joined the Latin Grammy organization, and submitted his album Now The Silence for consideration in Best Instrumental Album and Best Contemporary Classical Composition.
Sánchez always experiments, he is a classical musician falling in love with Ambient/New Age electronic music. Touch & Sound has an astonishing and nourishing 17 tracks. This time he is exploring the combination of strings and ethereal female voices, while continuing his passion for the sound of the acoustic piano in different settings. There is the most subtle electronica present in many places, but the sound is stories told on a solo piano without lyrics, created to allow a connection with the music on an emotional level. Listen to the generous epic sounds exploring notions of time, childhood, the moon, the rain, piano with a duduk, a lullaby, the discipline of calm, international human rights, a candle in the window, the afterlife, under the ocean, living by the sea, the air, daybreak, water mixed with sky, an unclad piano, and dreams.
In the studio are some very special and talented producers and mixing engineers: Runar Blesvik, Simon Teece, Miguel Mendoza and Bruno Sanfilippo. They have helped Juan to shape the sound he was looking for on this album.
I had the opportunity to share some words with Juan in October during an extended summer. "Here in Barcelona we are having the same weather, we call it 'October's Summer.' For me, this is the best season of the year." He provided some of his thoughts about making the album Touch & Sound as well as the gifts of life. You can find the music here: https://smarturl.it/oulvfp
"I consider the time I have to be one of the most important and precious of gifts you can possibly have, so I try to use it wisely. We can earn the money we spend but we cannot get back the time we have lost. So, this makes time more valuable than money. Also, we should use time for our good as well as for the good of others around us. This will help us and the society to progress towards a better tomorrow. Moreover, we should teach our children the importance and value of time."
The first track, "Sands of Time" (6:32), is a composition about the steady unstoppable advancement of time, featuring the timeless voice of soprano Morgane Matteuzzi. Juan uses very interesting keyboard phrasing, hurrying and then slowing to a pause. The vocalist and synthesizers blend, water flows, heights are reached, the sands of time are running out. The term “The Sands of Time” comes from the sand used in hourglasses, an ancient way of measuring time, scattered with unanswered questions, questions that imply – unthinkably to the young romantic – that love and goodness may be illusory.
More about Morgane Matteuzzi: https://www.morganematteuzzi.com/
"Those Fridays" (4:56) is pure piano, weaving a story. Juan reflects, this is a "nostalgic piano piece about how happy I was as a kid when it was Friday. For me, Friday was the best day of the week as it meant the beginning of the weekend. I used to hate going to school, so I was always looking forward to Friday to arrive and to feel the freedom of not having to go to school for two days. Friday nights were also magical watching TV programs or listening to music until late, knowing that the next day I would not have to get up early."
The title of the next track is "Piga Al Cel" (7:07), and is my personal favorite in this collection of beautiful and emotional piano personal favorites. The song name is a Catalan language expression that in English means “freckle in the sky.” Juan shares, "This is how my sister as a child used to describe the moon, she said that the moon was a freckle in the sky. I always found this description of the moon so sweet and tender that I wanted to write a song about it."
As a listener, what I like is the special razor’s edge sound, both violinist Mirela Nita and the mechanical aspects of the piano blend into the construction; we can hear the felt hammers gently move against the strings, it is a natural force that cannot be resisted.
More about Mirela Nita: https://www.facebook.com/MirelaNitaMusic/
Vocalist Nacre is floating above the piano notes on the track "For When It Rains" (5:12), haunting cycles with a message of hope for all the people who are struggling with depression and sadness, there is always a light at the end of the tunnel. It was Oscar Wilde who said "When it rains look for rainbows, when it is dark look for stars."
Nacre brings her vocal melodies without lyrics, which leave ample open space in the musical atmospheres she creates, stimulating the imagination and the instincts within the ear. She finds inspiration in Gregorian chants, French melodies and film soundtracks. Learn more about the vocalist, Nacre: https://www.nacre-music.com/
The duduk, sometimes called the tsiranapogh, is an ancient double reed woodwind instrument made of apricot wood, originating in Armenia. This unusual instrument is known for a rich and haunting sound. Duduk player Ilia Mazia with Juan evoke a night of the unknown with secrets, "A Nocturne" (5:08). All of the internal turmoil and uncertainty of being in love is captured in this music – a turmoil and uncertainty that prefers the darkness at its backdrop and only briefly recedes during daylight hours.
More about Dudukahar Ilia Mazia: https://www.airgigs.com/user/iliam
We all sometimes seek respite from the complicated world of noise and stimulation, perhaps longing for a simple and soothing moment away from the frantic world. "Lullaby For A Frantic World" (4:47) is Juan's contribution to make the world a happier and healthier place by composing a lullaby. "I just really wanted to create a simple but very soothing piano and strings piece that people can listen to and hopefully find a moment of peace in this frantic world." I hear a special violin, strings and piano, peacefully welcoming us into the realm of rest and tranquility.
The word Ataraxia refers to achieving mental peace and happiness by controlling positive and negative emotions, a state of mind that is characterized by tranquility and the total absence of desires or fears. The concept of ataraxia is to achieve mental peace and happiness impossible to alter by controlling positive and negative emotions. "Ataraxia" (4:16).
The composition “Human Rights” is dedicated to The Universal Declaration of Human Rights (UDHR), a milestone document in the history of human rights. The sound is piano unified with strings, bringing spiritual strength and persistence. "Human Rights" (6:05), features cello player Yoed Nir. I hear empathy and compassion, reliable and comforting, simply beautiful, it can almost embody our love/hate relationship with humanity itself: our creativity, hubris and invention pitted against criminality, pollution, greed.
More about Yoed Nir: https://yoednir.com/
The Universal Declaration of Human Rights (UDHR) is an international document adopted by the United Nations General Assembly that enshrines the rights and freedoms of all human beings. It was accepted by the General Assembly as Resolution 217 during its third session on 10 December 1948 at the Palais de Chaillot in Paris, France. https://www.un.org/en/about-us/universal-declaration-of-human-rights
In the distance after the sun has gone down there is the light of a lonely candle in the window so far away, "Into The Night" (5:10), piano with ethereal vocals by soprano Caroline Joy Clarke.
More about Caroline Joy Clarke: http://carolineclarke.net/
What is that light? Some people say that you are not only your body but you are also your soul. After the death of your body, your soul lives on in a world beyond the physical world. "Where Are They Now?" (5:17) is dedicated to the great afterlife mystery. Cello player Daniel Frankhuizen joins Juan, wondering about the past, and friends from times gone by.
More about Daniel Frankhuizen: https://www.danielcello.com/
"Le Grand Bleu" (4:23) with soprano vocalist Kirine, electronic strings, piano and the spirit of the water, inspired by the film "The Big Blue" by Luc Besson. The film is about the freediving world, filmed in the French Antibes, the Greek islands, Peru, and Taormina in Sicily. The film's undersea footage has a powerful otherworldly quality, much as if it were unfolding in outer space, as indeed it might be. It shows how vast the ocean really is. The unique underwater world is both beautiful and dangerous as well as very magical as well. It is as if the action and music were unfolding in outer space, asking the question, how vast is the ocean?
More about Kirine: https://www.facebook.com/Kirine1111/
The term "Paralian" comes from ancient Greek origins, meaning "one who lives by the sea.” The outstanding "voice" of cello player Liz Hanks joins Juan, making their way along the rocky path on the cliffs high over the comforting and vast blue ocean. "There are a million and one things I take for granted in my life, and living within 10 minutes of the Mediterranean sea is definitely one of them. There’s nothing quite like being able to pop down to the beach in a heartbeat whenever you need it. Because of this, I think it’s one of the best places to go to feel closer to nature and connect with the planet, more so than anywhere else." This track is titled "Paralian" (4:15), where dreams come true, and love can be found at the top of the sky.
More about Liz Hanks: https://www.lizhankscello.com/
The air takes on a sense which draws out the crucial themes and imagery, using piano and a choir of ethereal wonder, "Astral Voices" (3:08), creates a pinnacle of musical drama that realizes unknown aspirations and yearnings. The bright light would shine on the stillness of the early morning, "When Daybreak Comes" (6:42), piano and strings employ music instead of words telling the story to accentuate the unspoken passion. With another reference to water and its neutrality and the expected and natural flow, "Immersion" (4:04) comes cascading, a blend of piano and strings with a repeating haunted melody, you can feel the music swell and overcome you and play out into the distance, water and sky together forever.
With a nude piano, hesitant and shy, but not escaping, "Astral Voices (Solo Piano)" (3:12) is a fairy tale about experiencing the invisible worlds, perhaps a symbol of a truly natural and earthy source.
The mood starts unsteadily and eerily, the title track, "Touch & Sound" (4:21), when electronica gently touches the piano and reaches us in our dreams, crossing over from reality to create an amazing atmosphere anchored in the depths of the sound of desires and more importantly cravings, the melody becomes human enough to weep and despair, to talk and to aspire.
Touch & Sound is a piano-driven album with increased instrumentation like ethereal female voices, subtle synthesizer backgrounds and string arrangements, proving that sound can expand consciousness. With the syncing of these two diverse worlds comes the ultimate journey to transcend current time, space and reality, with the songs acting as mood shifters so any atmosphere can be created.
Juan Sánchez is a composer living in Barcelona, Spain; currently, he is primarily focused on the piano. In his twenties, he lived in London and performed with live bands before returning to Spain. In 1999, he retreated to the studio to make instrumental ambient electronic music, and since then he has been creating music for multimedia and sound libraries for music producers.
In March of 2019 he released the single “Rebirth” on Spotify which quickly began to accumulate attention, as people began adding it to their public and personal playlists. That led him to release his first album, also titled Rebirth, in September of 2019, which quickly elicited dozens of positive listener comments and music-usage requests by YouTubers, likely due to the highly-emotional appeal of the music. Juan’s next studio work evolved during the worldwide pandemic lockdown in 2020 and is titled Now The Silence, a reflective musical journey through moments of hope as well as despair, featuring arpeggios that seemingly float in the air. He does not want people to only listen to his music, he wants them to feel it and connect with it.
Touch & Sound achieves that connection with grace and serenity. This is a timeless album which brings an inspirational feeling of peaceful insight.
TRACKS
1) Sands of Time
2) Those Fridays
3) Piga Al Cel
4) For When It Rains
5) A Nocturne
6) Lullaby For A Frantic World
7) Ataraxia
8) Human Rights
9) Into The Night
10) Where Are They Now?
11) Le Grand Bleu
12) Paralian
13) Astral Voices
14) When Daybreak Comes
15) Immersion
16) Astral Voices (Solo Piano)
17) Touch & Sound
LINKS
https://smarturl.it/oulvfp
https://juansanchezmusic.info/
https://www.youtube.com/user/soundsforproducers
https://www.facebook.com/joan.sanchez.7334
https://open.spotify.com/artist/7hWXE61toZRP69BB1bQgDe
https://soundcloud.com/juansanchezcomposer
Their new song, “Flying Dream” is about what it really means to feel good in our physical bodies, but also mentally. It’s a song they wrote out of experimentation, their specialty. They played with structure and sound and sculpted this Lana Del Ray-like piece out of 12 sessions of creation. “The inspiration for this song came from a time in our relationship when it seemed we were bound for break up but kept finding light and love in each other and in our creative partnership, and we began a new conversation about what we really wanted from our lives,” says Rahimah. “Just like at that point in our relationship, this song is about the hope of feeling good through keeping it real, being honest, and listening to our bodies.”
What makes Red Flower Lake’s music so unique and special is their fearlessness and ability to speak from their hearts. They are not afraid to break genres or try new things musically that nobody has touched. They feel their music and make decisions based on their gut feeling and musical ear. “Flying Dream” is a strong and powerful.
Connect with RFL online at: https://www.redflowerlake.com
Watch extract here - https://www.youtube.com/watch?v=J1CEDQ3b8wI
https://www.sauliuspetreikis.com
http://www.ltinstrumentai.lt
You can listen to 'Mic Check Music' here:
https://open.spotify.com/album/5V7zwshDUMvfJL4CizZHz2?si=WZZQww8nQ2yYbNYoQq-9aQ
Influenced by watching The Dayton Family release their music independently, a hip hop group from his home town, Hookdiggy was taken by the hip hop and musical world. After he graduated college, he started his own music studio to help other independent artists make their dreams come true. When he realized that was his dream as well, he moved to Atlanta, where he's been ever since. In 2013, Hookdiggy had a pre-Grammy show called the "This Is Hip Hop Tour" at the Beverly Center in Los Angeles. It was the first real produced show he was responsible for. He then started a bi-monthly performance show called "This Is Hip Hop Thursdays" for a couple of months at Javavino in Atlanta. In 2020, he relaunched "This Is Hip-Hop Thursdays" in a virtual format for people to enjoy live music and did it weekly online every Thursday from June to November 2020
You can connect with Hookdiggy via:
Website: https://hookdiggy.com/home
Instagram: https://www.instagram.com/hookdiggy
Twitter: https://www.twitter.com/hookdiggy
Facebook: https://www.facebook.com/hookdiggy
YouTube: https://www.youtube.com/hookdiggy
Spotify: https://open.spotify.com/artist/6V6ysCSRa469PgVvfAyqhw
Gentle and mysterious electronic instrumental music,Illusive flows through various terrains and landscapes, responding to elemental changes and discoveries along the way, accomplishing thorough and ultimately dramatic transformations in the form, appearance, and character of the soundscape. What you will hear will sometimes be something that might not be what it seems to be, just when the view of a jungle plateau is coming into focus it might soon disappear and be replaced with something even more complex and inexplicable. This is the beauty and direction of the compositional work of Kelly David.
Illusive whispers about some sort of visual deception, a mirage, a dreamlike image that appears one way at first glance, but upon further reflection, one realizes there is something deeper in there and makes you want to search deeper, to discover what lies within. Kelly recapitulates, "Illusive refers to a quality of what you're seeing or hearing or where the direction you think the music is going may actually be headed somewhere else. Perhaps this relates to the state of the world during the time of this recording: we weren't so sure of many things.” Illusive offers a journey that is satisfying to the listener, revealing a vision of some new territory ahead.
It is possible that I am dreaming right now and that all of my perceptions are false. The ability of the mind to be tricked into believing that a mentally generated world is the "real world" is actually a common, even nightly event. Listening to Illusive, you might be able to see in this soundtrack a resemblance to various different unexplored planets adorned with mountains, rivers, rocks, flora, fauna, plains, wide valleys, and various groups of hills and caverns. The first encounter is with a person or thing that watches or stands as if watching.
From the opening vocal-like phrases to the last crash of the waves, this new album by the artist Kelly David is a voyage of granular organic electronic instrumental music. Illusive has seven tracks and provides an engaging flow, the sonic events constantly change and smoothly lead into new situations and discoveries. There are delicate details, vast quiet spaces and sweeping motion which keeps the listener pleasantly guessing and glowing. The sounds are not natural, with a few exceptions: some birds, some water, and there are probably some more mysterious field recordings hidden in the mix, which any great chef understandably celebrates without revealing all of his kitchen secrets. The most prominent ingredients are calm and curious. By the end of this album, the listener is left with a feeling of quiet uplift, knowing the world renews and a sense of hope will prevail.
The composer, Kelly David, graciously shares some insight into his motivations: “This is definitely my pandemic album. I started on the album in March of 2020 and finished a year later. My excursions into my studio became an escape from the uncertainty, fear and madness of the outside world over the last year...this was a translation of the peace I was seeking within myself.”
The musician continues. "The title Illusive is an adjective that derives from 17th century Latin. It means “based on or producing illusion.” As I worked on the music I was aware of shifts in darkness and light, tensions releasing into pleasing harmonies. As I grew closer to the finish, I began to listen to the tracks as a whole concept. I then realized that all of the tracks hung together through this essential peaceful quality that formed the core of each track with a delicate quality I was not consciously aware of during the writing . While I asked musical questions and provided musical answers, an essential quiet and peaceful quality kept pushing through.
"To me, this is certainly an ambient album, although there is quite a lot of movement underneath the ambient. It is always about change. No sound or combination of sounds remain the same for long. There is constant, subtle change. Illusive is an album that many will want to sleep with as the music invites dreaming."
As the project took form, “I began with some predetermined compositional structure for each piece. Mostly, it was a set of harmonic materials, namely a reliance on the subset modes of the major scales. Sometimes I modulated between different harmonic modes in the same piece. The modes often impact the emotional quality of a track as some modes are inherently sad or create a feeling of longing.
“In writing Illusive, I relied on a more complex harmonic structure than my previous album. I focused on the harmonic modes, both major and minor, to form the unifying harmonic structure. In several pieces, I wove several different modes into the same track. Also I deliberately created more space between sections, allowing silence to seep in throughout the album. What is consistent throughout my music is the use of my field recordings, the recorded natural environments range from deep woods recorded at midnight to a wave-pounding subtropical sea shore.
“Once I reached the point in recording the album where I recognized the quiet delicacy in the music, images of impressionist visual art came to mind: distinct and varied colors, often with the softness of water colors and then deeper, darker waters that flowed deep inside the music.”
Although illusions distort our perception of reality, they are generally shared by most people, thus resulting in fine art. What you will encounter are castles in the air, an array of illusions of hearing, exploring mysterious technologies that allow the composer to construct new worlds inside your headphones. This music invites us to consider the experience of discovering phantom objects and the realization that this entire gigantic gallery is artificial, designed for celebrating curiosity, and showing how to find inspiration for many of our possible futures.
Natural laws are different in this new place. The wilderness ahead is nothing like what we know on our home planet. The night fogs here are chromatically rich and endowed with vast electronic string and choral apparitions. The surroundings are vast and there is a watchman in the haunted tower, "Sentinel" (9:20) opens the voyage, exploring crafted hallucinations and invented soundscapes never before attempted. Later there is something like drumming coming from the distance, with melodic swirling fragments.
There is a tiny bit of a street in Oahu, where on a vacation in a house there, Kelly David recorded some of the themes that appear in "Palione" (9:54). Whilst presiding in the soft and brilliant foliage of this strange world, around a salt water pool, his peaceful and serene themes flow along from there past here. A bubbling form of electronic percussion emerges briefly, followed by beams of celestial color and reverberation, sometimes I can hear something like gulls in the distance, avian phantasms.
Distance is a relational measurement of how far apart objects or points are. Our path can be seen from great reaches, providing a deceptive appearance or impression of infinity. There are cycles of activity that rise and fall, there are occasional breezes and passing birds that are unlike anything that I have ever heard before, and then through the furthest trees I can hear the open sea, suggesting blue waters shimmering beneath the brazen sun. "Distance" (7:33) is an illusion of space, which changes as perspective adjusts. As I near the confines of the imaginary forest I see before me, between the grove and the open sea, a broad expanse of meadow land. As I am about to emerge from the shadows of the strange trees, a sight meets my eyes and ignites new wonderment for the beauties in this fantastic expanding landscape.
All of these elements are woven throughout these sonic stories. This track starts off with a sense of building energy just below the surface. Delicate reverberations and sparkling sprites cavort beneath fog horns that call darkly out to the vast quiet ocean. These sound like jungle birds hidden in the magical foliage. Behold the "Garden of the Forgotten" (5:19), as one turns their glance in any direction the garth has the appearance at a little distance of a vast, high-ceiled chamber. Hear the choirs of neo-electronic ignis fatuus, perhaps something like the terrestrial the will-o'-the-wisp, performing various lilting calls in the arboreal canopies. Tension builds and eventually releases as the passing elements reflect strangely changing colors.
As far aloft as I can see the stems and branches and twigs are smooth and highly polished and filled with brilliant, nameless birds. I call them birds since they are winged, but mortal ears have never rested upon such odd, unearthly shapes. "Top of the Trees" (8:03) is where the phantom blooms cluster thickly upon these strange branches and may not be described in any earthly tongue. Do these exotic steamy tropics have a variety of snowflakes? Something sparkly is decorating the breezes above.
The definition of ether is the sky, used especially when describing electronic signals that travel through the air. "Into The Ether" (12:25) brings a gentle taste of ether, or æther, the mysterious substance once thought to suffuse the universe. This track’s title might suggest something disappearing into nothing, like a specter of pure fantasy. The motion of the music is like a heat mirage, swaying and shimmering in plain sight off in the distance ahead, guarding the facts while lulling the urgencies of the daily hubble-bubble. Through the entire duration of this track there is the sense of a grand piano reverberating continuously, sort of glowing on and on without diminishing, guarding your dreamscape and allowing for a more complete escape.
The final track breaks open the box and leaves clues to follow into new territory, again! Further go our ears, receiving whispered reports of alien lands and never before encountered ways of being. Is the music coming up from the ocean depths or floating down from the distant heavens? I hear the surf on the shore, an oceanic heartbeat. I hear the call and response echoes of electronic cryptids reeling in the trackless regions of interplanetary space. "Northcoast" (15:52) mixes the rise and fall of oceanic planetary life with the distant horns of the angels. Along the way in one place I hear a lonely harmonica coming from somewhere in the caverns below. I find that my senses have been absorbed by inspiring visions of phosphorescent notes from the depths of the earth while looking right up into the night sky over the open waters. Later we discover clouds of artificial cicadas in those oceanic caves.
The music of Illusive is part of an ongoing process, learning to rotate, scale, skew, transfigure or translate a sonic chorus of disparate elements, a guide for cataloging the ideas about distant intelligent life in the universe, inviting adventurers to traverse the trackless void at will, coming and going between the countless planets. I have a love of expansive time, containing wide, open-voiced chords and things that suggest foreign auditory phantoms, using a technology that lies beyond our horizons, perhaps the technology of para-physical forces.
Kelly David has a small but growing handful of unique albums which explore these experiences of constant synthetic metamorphosis, he is pioneering a new form of organic electronic ambient audio arts. His first album with Spotted Peccary Music, Meditation in Green (2019) is a continuation of a musical journey that began with Kelly’s independently released first album, Broken Voyage (2002), mixed and produced by Steve Roach. On his second independent album, Angkor (2006), the sounds came from a first reflection of Asian travels and deep fascination, both academic and experiential, of the ancient Khmer civilization that dominated SE Asia in the 10th century. Steve Roach mastered Angkor, contributing his sonic treatment to the mixes. After that, for a shared album, The Long Night (2014), is a full-on collaboration with Steve where they worked "side by side" in Kelly’s Denver studio and Steve's Arizona studio, creating a deep work meant for the virtual dead of night. Kelly reflects, "Steve Roach opened the door for me and showed me how to walk through it."
Like its predecessor, Meditation in Green, Illusive revels in natural beauty, blending wilderness samples with luminous synths and psychedelic textures. Illusive, however, dwells as much in internal landscapes as external ones. Reflective, introspective, yet filled with wonder, the album released October 15, 2021 in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats; various platforms available at https://orcd.co/illusive
Tracklist:
1 Sentinel
2 Palione
3 Distance
4 Garden of the Forgotten
5 Top of the Trees
6 Into The Ether
7 Northcoast
About Kelly David:
In high school, Kelly was heavily influenced by the music of Frank Zappa. Through Frank Zappa interviews in magazines and newspapers, Kelly learned about the music of Stockhausen, Varese and other 20th century masters who provided a first direction to Kelly in electronic music. After a move “out west” to Denver in 1997, Kelly met Tucson’s ambient and electronic music master, Steve Roach. They subsequently developed a personal and professional kinship. Steve mixed and produced Kelly’s first album, Broken Voyage in 2002 and mastered and added spatial enhancements to Kelly’s 2006 release, Angkor. In 2014, Kelly collaborated with Steve on an album called The Long Night. Meditation in Green is Kelly’s first release for Spotted Peccary, and Illusive is the second.
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 at www.SpottedPeccary.com and www.AmbientElectronic.com.
Links:
Spotted Peccary Album Page: https://spottedpeccary.com/shop/illusive/
CD unboxing video: https://www.youtube.com/watch?v=AcG-280CeZE
Bandcamp: https://ambientelectronic.bandcamp.com/
Instagram: https://www.instagram.com/spottedpeccary/
Spotify: https://open.spotify.com/user/spottedpeccary
The Artist: https://kellydavid.bandcamp.com/
Home base: https://kellydavid.com/
More about Kelly David and Meditation in Green: https://ello.co/robinja56/post/sr8v_pv-axl_azrf1ybr3q
Illusive whispers about some sort of visual deception, a mirage, a dreamlike image that appears one way at first glance, but upon further reflection, one realizes there is something deeper in there and makes you want to search deeper, to discover what lies within. Kelly recapitulates, "Illusive refers to a quality of what you're seeing or hearing or where the direction you think the music is going may actually be headed somewhere else. Perhaps this relates to the state of the world during the time of this recording: we weren't so sure of many things.” Illusive offers a journey that is satisfying to the listener, revealing a vision of some new territory ahead.
It is possible that I am dreaming right now and that all of my perceptions are false. The ability of the mind to be tricked into believing that a mentally generated world is the "real world" is actually a common, even nightly event. Listening to Illusive, you might be able to see in this soundtrack a resemblance to various different unexplored planets adorned with mountains, rivers, rocks, flora, fauna, plains, wide valleys, and various groups of hills and caverns. The first encounter is with a person or thing that watches or stands as if watching.
From the opening vocal-like phrases to the last crash of the waves, this new album by the artist Kelly David is a voyage of granular organic electronic instrumental music. Illusive has seven tracks and provides an engaging flow, the sonic events constantly change and smoothly lead into new situations and discoveries. There are delicate details, vast quiet spaces and sweeping motion which keeps the listener pleasantly guessing and glowing. The sounds are not natural, with a few exceptions: some birds, some water, and there are probably some more mysterious field recordings hidden in the mix, which any great chef understandably celebrates without revealing all of his kitchen secrets. The most prominent ingredients are calm and curious. By the end of this album, the listener is left with a feeling of quiet uplift, knowing the world renews and a sense of hope will prevail.
The composer, Kelly David, graciously shares some insight into his motivations: “This is definitely my pandemic album. I started on the album in March of 2020 and finished a year later. My excursions into my studio became an escape from the uncertainty, fear and madness of the outside world over the last year...this was a translation of the peace I was seeking within myself.”
The musician continues. "The title Illusive is an adjective that derives from 17th century Latin. It means “based on or producing illusion.” As I worked on the music I was aware of shifts in darkness and light, tensions releasing into pleasing harmonies. As I grew closer to the finish, I began to listen to the tracks as a whole concept. I then realized that all of the tracks hung together through this essential peaceful quality that formed the core of each track with a delicate quality I was not consciously aware of during the writing . While I asked musical questions and provided musical answers, an essential quiet and peaceful quality kept pushing through.
"To me, this is certainly an ambient album, although there is quite a lot of movement underneath the ambient. It is always about change. No sound or combination of sounds remain the same for long. There is constant, subtle change. Illusive is an album that many will want to sleep with as the music invites dreaming."
As the project took form, “I began with some predetermined compositional structure for each piece. Mostly, it was a set of harmonic materials, namely a reliance on the subset modes of the major scales. Sometimes I modulated between different harmonic modes in the same piece. The modes often impact the emotional quality of a track as some modes are inherently sad or create a feeling of longing.
“In writing Illusive, I relied on a more complex harmonic structure than my previous album. I focused on the harmonic modes, both major and minor, to form the unifying harmonic structure. In several pieces, I wove several different modes into the same track. Also I deliberately created more space between sections, allowing silence to seep in throughout the album. What is consistent throughout my music is the use of my field recordings, the recorded natural environments range from deep woods recorded at midnight to a wave-pounding subtropical sea shore.
“Once I reached the point in recording the album where I recognized the quiet delicacy in the music, images of impressionist visual art came to mind: distinct and varied colors, often with the softness of water colors and then deeper, darker waters that flowed deep inside the music.”
Although illusions distort our perception of reality, they are generally shared by most people, thus resulting in fine art. What you will encounter are castles in the air, an array of illusions of hearing, exploring mysterious technologies that allow the composer to construct new worlds inside your headphones. This music invites us to consider the experience of discovering phantom objects and the realization that this entire gigantic gallery is artificial, designed for celebrating curiosity, and showing how to find inspiration for many of our possible futures.
Natural laws are different in this new place. The wilderness ahead is nothing like what we know on our home planet. The night fogs here are chromatically rich and endowed with vast electronic string and choral apparitions. The surroundings are vast and there is a watchman in the haunted tower, "Sentinel" (9:20) opens the voyage, exploring crafted hallucinations and invented soundscapes never before attempted. Later there is something like drumming coming from the distance, with melodic swirling fragments.
There is a tiny bit of a street in Oahu, where on a vacation in a house there, Kelly David recorded some of the themes that appear in "Palione" (9:54). Whilst presiding in the soft and brilliant foliage of this strange world, around a salt water pool, his peaceful and serene themes flow along from there past here. A bubbling form of electronic percussion emerges briefly, followed by beams of celestial color and reverberation, sometimes I can hear something like gulls in the distance, avian phantasms.
Distance is a relational measurement of how far apart objects or points are. Our path can be seen from great reaches, providing a deceptive appearance or impression of infinity. There are cycles of activity that rise and fall, there are occasional breezes and passing birds that are unlike anything that I have ever heard before, and then through the furthest trees I can hear the open sea, suggesting blue waters shimmering beneath the brazen sun. "Distance" (7:33) is an illusion of space, which changes as perspective adjusts. As I near the confines of the imaginary forest I see before me, between the grove and the open sea, a broad expanse of meadow land. As I am about to emerge from the shadows of the strange trees, a sight meets my eyes and ignites new wonderment for the beauties in this fantastic expanding landscape.
All of these elements are woven throughout these sonic stories. This track starts off with a sense of building energy just below the surface. Delicate reverberations and sparkling sprites cavort beneath fog horns that call darkly out to the vast quiet ocean. These sound like jungle birds hidden in the magical foliage. Behold the "Garden of the Forgotten" (5:19), as one turns their glance in any direction the garth has the appearance at a little distance of a vast, high-ceiled chamber. Hear the choirs of neo-electronic ignis fatuus, perhaps something like the terrestrial the will-o'-the-wisp, performing various lilting calls in the arboreal canopies. Tension builds and eventually releases as the passing elements reflect strangely changing colors.
As far aloft as I can see the stems and branches and twigs are smooth and highly polished and filled with brilliant, nameless birds. I call them birds since they are winged, but mortal ears have never rested upon such odd, unearthly shapes. "Top of the Trees" (8:03) is where the phantom blooms cluster thickly upon these strange branches and may not be described in any earthly tongue. Do these exotic steamy tropics have a variety of snowflakes? Something sparkly is decorating the breezes above.
The definition of ether is the sky, used especially when describing electronic signals that travel through the air. "Into The Ether" (12:25) brings a gentle taste of ether, or æther, the mysterious substance once thought to suffuse the universe. This track’s title might suggest something disappearing into nothing, like a specter of pure fantasy. The motion of the music is like a heat mirage, swaying and shimmering in plain sight off in the distance ahead, guarding the facts while lulling the urgencies of the daily hubble-bubble. Through the entire duration of this track there is the sense of a grand piano reverberating continuously, sort of glowing on and on without diminishing, guarding your dreamscape and allowing for a more complete escape.
The final track breaks open the box and leaves clues to follow into new territory, again! Further go our ears, receiving whispered reports of alien lands and never before encountered ways of being. Is the music coming up from the ocean depths or floating down from the distant heavens? I hear the surf on the shore, an oceanic heartbeat. I hear the call and response echoes of electronic cryptids reeling in the trackless regions of interplanetary space. "Northcoast" (15:52) mixes the rise and fall of oceanic planetary life with the distant horns of the angels. Along the way in one place I hear a lonely harmonica coming from somewhere in the caverns below. I find that my senses have been absorbed by inspiring visions of phosphorescent notes from the depths of the earth while looking right up into the night sky over the open waters. Later we discover clouds of artificial cicadas in those oceanic caves.
The music of Illusive is part of an ongoing process, learning to rotate, scale, skew, transfigure or translate a sonic chorus of disparate elements, a guide for cataloging the ideas about distant intelligent life in the universe, inviting adventurers to traverse the trackless void at will, coming and going between the countless planets. I have a love of expansive time, containing wide, open-voiced chords and things that suggest foreign auditory phantoms, using a technology that lies beyond our horizons, perhaps the technology of para-physical forces.
Kelly David has a small but growing handful of unique albums which explore these experiences of constant synthetic metamorphosis, he is pioneering a new form of organic electronic ambient audio arts. His first album with Spotted Peccary Music, Meditation in Green (2019) is a continuation of a musical journey that began with Kelly’s independently released first album, Broken Voyage (2002), mixed and produced by Steve Roach. On his second independent album, Angkor (2006), the sounds came from a first reflection of Asian travels and deep fascination, both academic and experiential, of the ancient Khmer civilization that dominated SE Asia in the 10th century. Steve Roach mastered Angkor, contributing his sonic treatment to the mixes. After that, for a shared album, The Long Night (2014), is a full-on collaboration with Steve where they worked "side by side" in Kelly’s Denver studio and Steve's Arizona studio, creating a deep work meant for the virtual dead of night. Kelly reflects, "Steve Roach opened the door for me and showed me how to walk through it."
Like its predecessor, Meditation in Green, Illusive revels in natural beauty, blending wilderness samples with luminous synths and psychedelic textures. Illusive, however, dwells as much in internal landscapes as external ones. Reflective, introspective, yet filled with wonder, the album released October 15, 2021 in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats; various platforms available at https://orcd.co/illusive
Tracklist:
1 Sentinel
2 Palione
3 Distance
4 Garden of the Forgotten
5 Top of the Trees
6 Into The Ether
7 Northcoast
About Kelly David:
In high school, Kelly was heavily influenced by the music of Frank Zappa. Through Frank Zappa interviews in magazines and newspapers, Kelly learned about the music of Stockhausen, Varese and other 20th century masters who provided a first direction to Kelly in electronic music. After a move “out west” to Denver in 1997, Kelly met Tucson’s ambient and electronic music master, Steve Roach. They subsequently developed a personal and professional kinship. Steve mixed and produced Kelly’s first album, Broken Voyage in 2002 and mastered and added spatial enhancements to Kelly’s 2006 release, Angkor. In 2014, Kelly collaborated with Steve on an album called The Long Night. Meditation in Green is Kelly’s first release for Spotted Peccary, and Illusive is the second.
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 at www.SpottedPeccary.com and www.AmbientElectronic.com.
Links:
Spotted Peccary Album Page: https://spottedpeccary.com/shop/illusive/
CD unboxing video: https://www.youtube.com/watch?v=AcG-280CeZE
Bandcamp: https://ambientelectronic.bandcamp.com/
Instagram: https://www.instagram.com/spottedpeccary/
Spotify: https://open.spotify.com/user/spottedpeccary
The Artist: https://kellydavid.bandcamp.com/
Home base: https://kellydavid.com/
More about Kelly David and Meditation in Green: https://ello.co/robinja56/post/sr8v_pv-axl_azrf1ybr3q
Born in 1993 on the Tuesday of April 27....such a promising would not delay showing his gift in arts...By the age of 4 he had been working along with (5) his friend Peter on a copyright song "every step I take,every move I make ....."At 5 yrs he was in the percussion band playing cymbals...:1999 was the year he first made appearance on a musical stage platform...
If you want the real story of Biscky Lee...
Please follow us @Biscky Lee.
You won’t find his sound anywhere else. His absolute vulnerability and openness is unmatched by any other artist. You can hear his passion and love for music in his songs. “This album centers around women I never met,” says Alan. “These songs are about the girls that didn't ‘marry their best friend.’ These songs are for the guy and girl who were born 500 years apart. This album is dedicated to the flowers that bloomed in Autumn.”
The sound itself is reminiscent of Paul McCartney and Simon and Garfunkel and his voice is raspy and folksy. With each song giving a narrative of a woman, it's a unique and creative album that puts your mind at ease.
You can listen to the album here:
https://open.spotify.com/artist/6dz5TM0NYnXzIS1vsNq5Ry?si=fTCsZkIDTE-r_B4hQxatLA&dl_branch=1&nd=1
You can find Alan Goins via:
Website: https://alangoins.com
Spotify: https://open.spotify.com/artist/6dz5TM0NYnXzIS1vsNq5Ry?si=gFn0ovU_SK6d0cx36a0pqg&dl_branch=1
Apple Music: https://music.apple.com/us/artist/alan-goins/1578302366
In her newest single "Outside," she sings about being an outsider, about how sometimes she feels like an imposter. She sings “I know what it feels like to be on the outside; Doing everything right, just to be on the outside.” While she's figuring out who she is, she also embraces her individuality. She doesn't fit into these arbitrary parameters set by society, or even musically. She feels like an outsider, but she also accepts it and loves that about herself.
The sound of the song itself is an alternative rock song with a hint of psychedelic rock. With a rhythm that makes you want to bob your head, it’s reminiscent of Pink Floyd and The Doors as well as her own spin on rock, giving it a uniquely modern-meets-classic sound that you wont hear anywhere else.
Listen to "Outside" here:
https://soundcloud.com/avafaith/outside
You can find and connect with Ava Faith via:
Instagram: https://www.instagram.com/avafaithmusic/?hl=en
Facebook: https://www.facebook.com/AvaFaithMusic/
Spotify: https://open.spotify.com/artist/6VmSOo3dc0hciHcvAMOCw9?si=gFb7xke5RI-kGpNu0K-r5A&nd=1
Soundcloud: https://soundcloud.com/avafaith
Dan Zalles exercised his innate story telling ability in tracks like “Driving Through the Wide Open”, while other tracks like “Back in My Bubble” show Zalles’ vulnerability out in the wide open. The song “Leave it to the Night” holds threads of a modern pop Phil Collins sound, and brings you into our favorite track…
“Aint No Stranger Times Than These” is arguably the most raw track on the album, painting a picture of what almost everyone in the world has gone through during the pandemic.
When asked how he got the album title, Dan Zalles says, “there’s a song on the album called ‘Resting Place’ and it’s a little morbid because it’s my reflection on life and death. I wanted to expand the idea of a resting place to represent a place of desire, a place where you might want to end up that captures your passions best.”
Dan didn’t stop once this album was created, he continued to work to bring his fans visuals for the album, which can be found on his Youtube account, right after his popular live performance videos.
Connect with Dan online at DanZallesMusic.com, and listen to Resting Place on all streaming platforms.
The gentle Americana of this song captures those feelings of wondering, anticipating, hoping and longing that maybe that person does like you back, coupled with vivid imagery taken from classic American literature by Ernest Hemingway and John Steinbeck.
This soaring track develops gradually, buoyed by a subtle yet powerful beat by drummer Matt Gallant, as well as organ and banjo accompaniment. Come along for the journey with Thomas Stacjer across “Midwestern States.”
Dive in via
https://open.spotify.com/track/0NqnHRuhKwJPLc5IDFZ2Zq
As part of his debut album of the same name, “Aspire to Greatness” is all about how he didn’t let his greatness pass him by. He may have had to overcome many obstacles, and it was hard, but that shouldn’t stop anyone from aspiring to be the greatest they can be. “‘Aspire to Greatness’ is a reflection of my life and my journey to achieve greatness in my own life,” says Jusme Da One.
“Aspire to Greatness” is very much inspired by modern day hip hop, with music similar to that of Kendrick Lamar and vocals reminiscent of Wiz Khalifa. The strength of the music solidifies the strength of the lyrics, with horns and purposeful piano, he hopes to bring inspiration to others, because even though he sings of his own journey, he reminds the listener that greatness is in us all. He says “The message that I wanted to convey with this song is that no matter what you've been through, greatness is within each of us. You have to Aspire to Greatness no matter the obstacles to be who you're meant to be.”
You don’t want to miss out on “Aspire to Greatness.” This vulnerable yet catchy song is all about empowering himself and others. If his single is this good, we can only imagine what the album has in store.
“Aspire to Greatness” is out now exclusively on Soundcloud:
https://soundcloud.com/jusmedaone/aspire-to-greatness-aspire-to
She released her newest single called “Turning 23,” a pop song using a synthesizer to create an infectious melody. It is all about how life is uncertain and how you don’t have everything figured out, but feel like you should. She sings “I’m turning 23 and I’m kinda wondering what the hell I’m supposed to be by now,” which brings a sigh of relief to everyone in the same boat. She, like the rest of us, assumed we would have everything figured out, but it turns out we don’t.
“I wrote turning 23 the day before I turned 23,” says Jasmine. “It was a time when I was feeling worried about the future and had a lot of uncertainty of what direction to take. The track was also inspired by the fact that when you turn 23, there are a lot of expectations to have your life and career sorted out.”
“Turning 23” is a pop hit that belongs on any playlist. It’s a completely relatable song that hits hard within the souls of young people. She reminds us that she is in the same boat and that we are not alone in the journey of discovering who we are. Whether you’re turning 23, 33, or even 43, this track is a must listen.
Connect with Jasmine and listen to the new single here: https://linktr.ee/jasminethakral
After years of releasing acoustic guitar backed demos, alt-rockers The Ruddy Ruckus will release their debut album, Wentworth And Main, on September 10th. Produced by Luke Bentham (The Dirty Nil), engineered by Vince Soliveri (The Redhill Valleys), mixed by Dave Schiffman (PUP, Vampire Weekend, The OBGMs) and mastered by Harry Hess (Big Wreck, Monster Truck), Wentworth And Main is a gritty sonic representation of living in Hamilton, ON.
Starting out as a folk-punk alter ego for frontman Rob Brown, the Ruckus has evolved into an alt-rock phenom with the gradual additions of lead guitar player Jackson Dorie, bassist Giordano Modesto and drummer Patrick Brown. Drawing from influences such as Green Day and Big Wreck their sound could be described as a refreshing take on garage rock, the kind of sound you’d want to hear in dingy dive bars as much as sold out stadiums.
Listen in here: https://theruddyruckus.bandcamp.com/
The Playlist features chants and traditional instruments from Madang, Sepik, Rigo, and Mekeo in the central province. The Aim of the EP is to tell stories from the past using genres such as Ethnic Electronica and contemporary.
Most of the chants used have been passed on from generation to generation and EthniClan's founder and producer Ben Micah Jnr, AKA "Ethnic", explains how fortunate he was to record those chants. Each artist that recorded these chants came from the direct bloodline of the composers and was selectively given the right to sing them.
The aim of this EP is to spread the message of hope through song. "Somewhere in the dark, you will see, just believe, Tanikoomo Kanikeke, just believe".
we hope you enjoy this one. The link is provided Below.
https://www.youtube.com/watch?v=PRd7JY6WTgs
“I.M.F (In Mental Fitness)” is his newest upbeat EDM meets hip hop song that explores what music can do. Similar to that of T-Pain and Wiz Khalifa, it’s dynamic and genre defying to the max. He uses the xylophone to open and continues underneath the hip hop and EDM sounds throughout the song. It’s a high energy track meant to get viewers up and moving and feeling like they can accomplish anything.
Lyrically, it’s about taking care of oneself. He says he wrote this song “during a depressive state as a means of finding motivation for myself and it definitely did that.” He sings about how our mental fitness isn’t as looked after as our physical fitness. Our mental fitness, be that for our emotional capacity or intelligence, is just as important, if not more, than our physical well being.
S.m.S is a unique and talented musician that just wants to bring music to our ears. There isn’t anything else like him or his sound out there and it’s nothing to miss out on. “I.M.F” stands out among the other music out there and belongs on any playlist.
For all time, the stars have beguiled, have evoked awe and wonder. Though these five pieces capture the grandeur of the skies, this album was named for its composition. The title Horizon inspires the joy of collaboration—discovery—as the exchange of ideas takes a composition to a beautiful and unexpected place.
Morris says their best work comes when they compose without “any preconceived notions of where things should go or what we should do,” and this album embodies that open-minded approach to songwriting. These pieces shift and shimmer, morphing seamlessly from one beat to another. On “Ocean of Fire,” expansive ambiance ebbs and surges over reverberant frame drum before skittering percussion and a modular synth groove ascend to a captivating crescendo. Tension builds on stunning opener “Eye of Everything, ” as a complex tribal beat propels the listener through a cinematic landscape of submerged drones and panoramic vistas. “Woven” is both cavernous and celestial; freeform percussion coalesces into a beat beneath a spacious texture, a sound like surfacing from a subterranean space.
Frore describes Horizon as a mixture of “past and present, ancient and future,” and for all time the stars have beguiled. Ancient cultures looked to the stars for wisdom, for guidance, for signs from the divine. Now, scientists look to the stars for knowledge, for a deeper understanding of our universe, for humanity’s next step. As tribal rhythms entrance the listener, ethereal synthesizers enrapture with the thrill of the unknown, with the promise of discovery—to capture perfectly the essence of the horizon: the place where earth meets the sky.
When talking about the influences for their sound, Frore revealed that “Everything comes into play. The human idea of what the self is, BBC Planet Earth documentaries, industrial music, dub techno, ragas.” Morris adds, “I think we are always working with an influence of cultures from around the world, history, and the music from so many different sources whether it be ambient, electronic, ethnic folk traditions, and sounds from field recordings.”
Frore is the ambient music project of Paul Casper, a musician hailing from southeastern Virginia, in the USA. Paul has a unique approach to ambient music, always seeking to fuse what he calls “primitive sounds” with current technology. The music of Frore has been featured on the Hearts of Space radio show, the Star’s End radio show and is frequently played on Stillstream.com, the ambient radio channel among other outlets.
Shane Morris is a percussionist, synthesist, and composer of ambient electronic music. Inspired by nature, patterns, and systems, he shapes ethereal realms, polyrhythmic grooves, and tribal soundscapes using a variety of acoustic and electronic instruments, processing, hardware and software. He also holds a BA in Anthropology and Music with an emphasis in “Trance” and has been playing music professionally for nearly 20 years.
Byron Metcalf has been intensely involved in consciousness research and spiritual development for over 30 years, specializing in the transformative potential of alternative states of consciousness, to support people in developing their capacity for soul-based and heart-centered living as they contribute to the spiritual healing and maturity of humanity. He has been a musician for over 50 years, becoming a professional drummer when he was fifteen years old, eventually playing on several gold and platinum albums.
Mark Seelig received classical training on the violin from age 8 through 14, and then taught himself guitar and vocals. From early on he felt a growing fascination with the world’s spiritual traditions. During a deep vision quest, in 1999 at age 42, his musical focus shifted again, he felt encouraged to take up the Bansuri, which is a North Indian bamboo flute. He is also a Certified Holotropic Breathwork Practitioner, specializing in Archetypal Astrology, and Shamanic Divination Ceremonies.
Dirk Serries began working in the early 1980s in the Belgian DIY industrial tape music scene as Vidna Obmana, which in Serbian translates as "optical illusion." While his first recordings featured harsh industrial music, his work gradually shifted into ambient music and a primitive tribal sound. His next musical incarnation, Fear Falls Burning, began in 2005, followed in 2012 by his Microphonics projects, with a more improvisational avant-garde jazz feeling.
The album Horizon is an ambitious exploration of drone meditations and percussion, combining the languages of hand-created beats with soaring electronic atmospheres, a new energy and life comes from the music. It’s a real joy to listen to, feeling the joy of the musicians, the human idea of what the self is, industrial music, dub techno, ragas, history and mythology. The overall experience is calming and inspirational. The talents who originated this journey know the territory of transformative consciousness raising and international rhythm traditions. This music is perfect for creating a positive sonic environment for healing as well as for relaxation. The horizon is vast and the offing is forever distant, bringing a fantastic sensation of infinity.
For those who love mystery, exploring inner space, savoring world music flavors, and intellectual excitement, here are five tracks exploring the art of sustained tonal patterns, some with beats from various hand instruments, all delivered with deep inspirational passion, always changing and constantly evolving. You can tell that these musicians are always working with an influence of cultures from around the world, history, and the music from so many different sources, including ambient, electronic, ethnic folk traditions, and sounds from field recordings. Everything comes into play. These collaborative events suggest a mixture of the past and present, ancient and future, influenced by the previous work of tribal ambient pioneers who came before, blending acoustic instruments that are heavily processed, sculpting and carving out sounds. These collaborations provide a look forward into the future.
The eye is a sense organ that reacts to light and allows vision. The eye is also the focus of a hurricane, the point about which the rest of a storm rotates and where the wind becomes strangely calm. The eye of anything is the focus of awareness, the point about which the rest rotates. "The Eye of Everything" (12:09) is a duet by Frore and Morris, emerging from the void, enrolling the elements of electronic sounds and hand percussion.
To be truly inspired, a musician may become one with this inspiration, the inner being and the outer world—along with the very art itself. As a collective of creative types, musicians seek inspiration everywhere, and in everything. Unconditional love, the highest form of love, charity, the love of God for man and of man for God, are all classical definitions of the Greek word "Agape" (10:57), which is performed by the trio of Frore, Morris and Mark Seelig. Featured are the sounds of the Bansuri flute, an aerophone made from bamboo and used in Hindustani classical music. This combination creates a steady universal sound that transcends and persists, it goes beyond just the emotions, employing electronics, breath, and hand percussion; long sustained tones with many subtle variations.
Wide open musical colors and textures, steadily building into a tight energized groove, interlacing, braiding and intertwining threads or fibers of sound, blending elements of terrestrial ethnic or indigenous musical traditions and pulling from gentle chaos, coming together between the warp and weft of the duo Frore and Morris: "Woven" (12:47).
What does it mean to be lost in something? A sense of being astray in the unknown, a feeling of amazement and admiration, caused by something beautiful, remarkable, and unfamiliar. Dirk Serries joins Frore and Morris, beaming combinations of harmonic relationships, which move slowly from one to the next sustained chord or cluster of notes that linger uninterrupted, the sound of the wind blowing is evoked by a flute. "Lost in Wonder" (8:56) yields a wide variety of musical possibilities, a collection of diversity in styles and collaborative dynamics, from the endless drone of pure bliss to the almost hidden flight of free melodic improvisation.
"Ocean of Fire" (16:34) was created by Frore, Morris and percussionist Byron Metcalf. This final track enters with organic surf, crashing on a pebble beach and builds in stages steadily into a most passionate pace, energy in waves, mixing percussion over sustained tones to produce an ambient, minimalist, and often avant-garde soundscape, while maintaining a tribal house characteristic in the sound. This is a very big ocean.
Horizon was mastered by Ben Cox, and is available for physical purchase in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats worldwide. The CD version of Horizon arrives in a factory sealed 6-panel gatefold package that includes vibrant artwork, liner notes, a 4-page booklet, and artful package design by Daniel Pipitone.
Tracklist:
1 The Eye of Everything
2 Agape
3 Woven
4 Lost in Wonder
5 Ocean of Fire
Links:
Spotted Peccary Album Page: https://spottedpeccary.com/shop/horizon/
Smart Link: https://orcd.co/horizon-spm
Bandcamp: https://ambientelectronic.bandcamp.com/
Instagram: https://www.instagram.com/spottedpeccary/
Spotify: https://open.spotify.com/user/spottedpeccary
Frore & Shane Morris – Horizon – CD Unboxing
https://www.youtube.com/watch?v=UcY6s1Ln5Rc
Morris says their best work comes when they compose without “any preconceived notions of where things should go or what we should do,” and this album embodies that open-minded approach to songwriting. These pieces shift and shimmer, morphing seamlessly from one beat to another. On “Ocean of Fire,” expansive ambiance ebbs and surges over reverberant frame drum before skittering percussion and a modular synth groove ascend to a captivating crescendo. Tension builds on stunning opener “Eye of Everything, ” as a complex tribal beat propels the listener through a cinematic landscape of submerged drones and panoramic vistas. “Woven” is both cavernous and celestial; freeform percussion coalesces into a beat beneath a spacious texture, a sound like surfacing from a subterranean space.
Frore describes Horizon as a mixture of “past and present, ancient and future,” and for all time the stars have beguiled. Ancient cultures looked to the stars for wisdom, for guidance, for signs from the divine. Now, scientists look to the stars for knowledge, for a deeper understanding of our universe, for humanity’s next step. As tribal rhythms entrance the listener, ethereal synthesizers enrapture with the thrill of the unknown, with the promise of discovery—to capture perfectly the essence of the horizon: the place where earth meets the sky.
When talking about the influences for their sound, Frore revealed that “Everything comes into play. The human idea of what the self is, BBC Planet Earth documentaries, industrial music, dub techno, ragas.” Morris adds, “I think we are always working with an influence of cultures from around the world, history, and the music from so many different sources whether it be ambient, electronic, ethnic folk traditions, and sounds from field recordings.”
Frore is the ambient music project of Paul Casper, a musician hailing from southeastern Virginia, in the USA. Paul has a unique approach to ambient music, always seeking to fuse what he calls “primitive sounds” with current technology. The music of Frore has been featured on the Hearts of Space radio show, the Star’s End radio show and is frequently played on Stillstream.com, the ambient radio channel among other outlets.
Shane Morris is a percussionist, synthesist, and composer of ambient electronic music. Inspired by nature, patterns, and systems, he shapes ethereal realms, polyrhythmic grooves, and tribal soundscapes using a variety of acoustic and electronic instruments, processing, hardware and software. He also holds a BA in Anthropology and Music with an emphasis in “Trance” and has been playing music professionally for nearly 20 years.
Byron Metcalf has been intensely involved in consciousness research and spiritual development for over 30 years, specializing in the transformative potential of alternative states of consciousness, to support people in developing their capacity for soul-based and heart-centered living as they contribute to the spiritual healing and maturity of humanity. He has been a musician for over 50 years, becoming a professional drummer when he was fifteen years old, eventually playing on several gold and platinum albums.
Mark Seelig received classical training on the violin from age 8 through 14, and then taught himself guitar and vocals. From early on he felt a growing fascination with the world’s spiritual traditions. During a deep vision quest, in 1999 at age 42, his musical focus shifted again, he felt encouraged to take up the Bansuri, which is a North Indian bamboo flute. He is also a Certified Holotropic Breathwork Practitioner, specializing in Archetypal Astrology, and Shamanic Divination Ceremonies.
Dirk Serries began working in the early 1980s in the Belgian DIY industrial tape music scene as Vidna Obmana, which in Serbian translates as "optical illusion." While his first recordings featured harsh industrial music, his work gradually shifted into ambient music and a primitive tribal sound. His next musical incarnation, Fear Falls Burning, began in 2005, followed in 2012 by his Microphonics projects, with a more improvisational avant-garde jazz feeling.
The album Horizon is an ambitious exploration of drone meditations and percussion, combining the languages of hand-created beats with soaring electronic atmospheres, a new energy and life comes from the music. It’s a real joy to listen to, feeling the joy of the musicians, the human idea of what the self is, industrial music, dub techno, ragas, history and mythology. The overall experience is calming and inspirational. The talents who originated this journey know the territory of transformative consciousness raising and international rhythm traditions. This music is perfect for creating a positive sonic environment for healing as well as for relaxation. The horizon is vast and the offing is forever distant, bringing a fantastic sensation of infinity.
For those who love mystery, exploring inner space, savoring world music flavors, and intellectual excitement, here are five tracks exploring the art of sustained tonal patterns, some with beats from various hand instruments, all delivered with deep inspirational passion, always changing and constantly evolving. You can tell that these musicians are always working with an influence of cultures from around the world, history, and the music from so many different sources, including ambient, electronic, ethnic folk traditions, and sounds from field recordings. Everything comes into play. These collaborative events suggest a mixture of the past and present, ancient and future, influenced by the previous work of tribal ambient pioneers who came before, blending acoustic instruments that are heavily processed, sculpting and carving out sounds. These collaborations provide a look forward into the future.
The eye is a sense organ that reacts to light and allows vision. The eye is also the focus of a hurricane, the point about which the rest of a storm rotates and where the wind becomes strangely calm. The eye of anything is the focus of awareness, the point about which the rest rotates. "The Eye of Everything" (12:09) is a duet by Frore and Morris, emerging from the void, enrolling the elements of electronic sounds and hand percussion.
To be truly inspired, a musician may become one with this inspiration, the inner being and the outer world—along with the very art itself. As a collective of creative types, musicians seek inspiration everywhere, and in everything. Unconditional love, the highest form of love, charity, the love of God for man and of man for God, are all classical definitions of the Greek word "Agape" (10:57), which is performed by the trio of Frore, Morris and Mark Seelig. Featured are the sounds of the Bansuri flute, an aerophone made from bamboo and used in Hindustani classical music. This combination creates a steady universal sound that transcends and persists, it goes beyond just the emotions, employing electronics, breath, and hand percussion; long sustained tones with many subtle variations.
Wide open musical colors and textures, steadily building into a tight energized groove, interlacing, braiding and intertwining threads or fibers of sound, blending elements of terrestrial ethnic or indigenous musical traditions and pulling from gentle chaos, coming together between the warp and weft of the duo Frore and Morris: "Woven" (12:47).
What does it mean to be lost in something? A sense of being astray in the unknown, a feeling of amazement and admiration, caused by something beautiful, remarkable, and unfamiliar. Dirk Serries joins Frore and Morris, beaming combinations of harmonic relationships, which move slowly from one to the next sustained chord or cluster of notes that linger uninterrupted, the sound of the wind blowing is evoked by a flute. "Lost in Wonder" (8:56) yields a wide variety of musical possibilities, a collection of diversity in styles and collaborative dynamics, from the endless drone of pure bliss to the almost hidden flight of free melodic improvisation.
"Ocean of Fire" (16:34) was created by Frore, Morris and percussionist Byron Metcalf. This final track enters with organic surf, crashing on a pebble beach and builds in stages steadily into a most passionate pace, energy in waves, mixing percussion over sustained tones to produce an ambient, minimalist, and often avant-garde soundscape, while maintaining a tribal house characteristic in the sound. This is a very big ocean.
Horizon was mastered by Ben Cox, and is available for physical purchase in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats worldwide. The CD version of Horizon arrives in a factory sealed 6-panel gatefold package that includes vibrant artwork, liner notes, a 4-page booklet, and artful package design by Daniel Pipitone.
Tracklist:
1 The Eye of Everything
2 Agape
3 Woven
4 Lost in Wonder
5 Ocean of Fire
Links:
Spotted Peccary Album Page: https://spottedpeccary.com/shop/horizon/
Smart Link: https://orcd.co/horizon-spm
Bandcamp: https://ambientelectronic.bandcamp.com/
Instagram: https://www.instagram.com/spottedpeccary/
Spotify: https://open.spotify.com/user/spottedpeccary
Frore & Shane Morris – Horizon – CD Unboxing
https://www.youtube.com/watch?v=UcY6s1Ln5Rc
An homage to her Jewish ancestors, who fled the Russian pogroms, Lisa Swerdlow hopes the music offers solace for anyone trying to build a better life in America. An accomplished pianist and composer of classical crossover and contemporary instrumental music, announces the debut of her Coming to America Concerto, a dynamic and cinematic exploration of a journey of Russian immigrants, told in three movements. It released globally on all digital platforms, and is also available in physical CD format from Bandcamp. Swerdlow will perform the concerto live at The Center for the Arts on November 13, 2021 as part of the Ten Hands - 88 Keys concert in Grass Valley, CA.
Swerdlow considers herself a storyteller, and this is the story of her grandparents, who in the early 1900s, escaped the pogroms of Russia and found refuge in a new land. The Coming to America Concerto blends musical voices with sweeping layered piano-driven instrumentation including clarinet, cello, flute, oboe, and violin. The musical journey moves from pensive and reflective to more uplifting melodies, as the story evolves from difficult circumstances in the homeland, to rousing aural images of hope in New York Harbor.
“Last year, I started researching my grandparents’ immigration to the United States from Russia (and what is now Ukraine) in the years 1907-1910 due to persecution of the Jewish people,” says Swerdlow. “I reflected on the courage it must have taken for them to leave their homeland of many centuries, their family and friends, to sail to a foreign country they had barely heard of called 'America.' The music came to me, and I started writing.”
"The inspiration for composing the Coming To America Concerto came during the long Covid-19 quarantine. As I spent days, weeks and eventually months in my home, I started researching my grandparents’ immigration to the United States from Russia (and what is now Ukraine) in the years 1907-1910 due to persecution of the Jewish people. I reflected on the courage it must have taken for them to leave their homeland of many centuries, their family and friends, to sail to a foreign country they had barely heard of called “America.” Had these villagers and townspeople not made that sacrifice, I would not have been born here, in this country that--even with all its flaws and dark eras of history--has given me so many freedoms and choices not available to the current people of Russia and Ukraine.
"I dedicate this concerto to my Grandparents, and to all the immigrants who come to this country called “America” in search of safety and the promise of Hope."
The Movements
First Movement: Home of My Ancestors
This Russian klezmer-themed movement tells the tale of life in the Jewish ghettos and villages of late 19th and early 20th century Russia. Life had its joys and celebrations as well as its fears, especially of the Czar’s army showing up to desecrate what the villagers most loved and valued: their traditions, their homes, their temples. But, the Jewish people were and are resilient people who keep their spirits alive, even in the face of adversity. Finally, the time came for them to seek a new homeland.
Second Movement: The Crossing
In this movement, I imagined my Grandparents carrying what possessions they could, living in cramped steerage quarters far below deck on a huge ocean liner such as the Mauritania. The music captures the journey: feeling seasick, longing for their homeland, the great trepidation of crossing an endless ocean bound for “America,” which was probably more of a concept to them than an actual place. Their uncertainty is matched only by their determination to best the conditions on board; sometimes they dream of home.
Third Movement: The Arrival
At long last, they step onto the deck of the ship. Their excitement and anticipation grows as they make out New York Harbor on the horizon. The huge ship’s engines grind into reverse, as the shoreline grows closer and the harbor becomes clear. The reality dawns: a new life is awaiting them, in a country where they don’t speak the language, don’t understand its currency, and don’t have any friends or relatives waiting for them. Still, as they sail next to the Statue of Liberty, they understand her welcoming message, feeling grateful for their new homeland.
Lisa began studying classical piano at the age of six, and by age 16, she was writing and performing songs on piano and guitar. She went on to study music theory and composition at Humboldt State University and College of the Redwoods. Lisa's early musical influences range from Laura Nyro and Carole King to Harry Belafonte and Burt Bacharach. Later in life, she was drawn to the piano music of Keith Jarrett, David Lanz, Eddy Palmieri, Antonio Carlos Jobim, Barbara Higbie and Mary Watkins.
In the 1970s, Lisa performed in coffee houses on Fairfax Avenue in L.A. and went on to play piano in a rock 'n' roll band in San Francisco. In the 1980s she performed at the West Coast Women's Music Festival, and soon after toured Northern California with a ten-piece all women salsa band called Las Malandras. These genres have influenced her unique composing style, and Lisa has moved into more complex orchestration and arrangements in recent years.
Swerdlow's America is a concept of refuge as well as a land of new opportunities. America can be the first choice for a new start, but sometimes it was also the last resort after losing everything. Her concerto tells a story of loss and disaster, which resolves into a positive message of inspiration, survival and spiritual endurance.
The music was recorded at Piano Haven Studio, in Sedona, AZ. It was engineered by Joe Bongiorno, orchestrated by Doug Hammer, and mastered at Dreamworld Productions. The EP is available in various formats including physical CD, digital download, and streaming worldwide; Swerdlow's music can be found on Spotify playlists including Calming Piano and Strings, Elegant Music, Romantic Piano Moods, and many more.
Coming to America Concerto - Tracklist
"Movement 1: Home of My Ancestors" (3:36)
"Movement 2: The Crossing" (3:41)
"Movement 3: The Arrival" (3:42)
Buy, stream or download the Coming to America Concerto by Lisa Swerdlow from the platform of your choice: http://hyperurl.co/t9pn0h
Links:
Official website - http://lisaswerdlow.com/
Instagram - https://www.instagram.com/lisaswerdlow/
Facebook - https://www.facebook.com/LisaSwerdlowPiano/
Bandcamp - https://lisaswerdlow1.bandcamp.com/
Twitter - https://twitter.com/LisaSwerdlow
Concert Tix - https://thecenterforthearts.org/event/ten-hands-88-keys/
Preview: Coming to America Concerto
https://www.youtube.com/watch?v=fBi2JygDpz4
Swerdlow considers herself a storyteller, and this is the story of her grandparents, who in the early 1900s, escaped the pogroms of Russia and found refuge in a new land. The Coming to America Concerto blends musical voices with sweeping layered piano-driven instrumentation including clarinet, cello, flute, oboe, and violin. The musical journey moves from pensive and reflective to more uplifting melodies, as the story evolves from difficult circumstances in the homeland, to rousing aural images of hope in New York Harbor.
“Last year, I started researching my grandparents’ immigration to the United States from Russia (and what is now Ukraine) in the years 1907-1910 due to persecution of the Jewish people,” says Swerdlow. “I reflected on the courage it must have taken for them to leave their homeland of many centuries, their family and friends, to sail to a foreign country they had barely heard of called 'America.' The music came to me, and I started writing.”
"The inspiration for composing the Coming To America Concerto came during the long Covid-19 quarantine. As I spent days, weeks and eventually months in my home, I started researching my grandparents’ immigration to the United States from Russia (and what is now Ukraine) in the years 1907-1910 due to persecution of the Jewish people. I reflected on the courage it must have taken for them to leave their homeland of many centuries, their family and friends, to sail to a foreign country they had barely heard of called “America.” Had these villagers and townspeople not made that sacrifice, I would not have been born here, in this country that--even with all its flaws and dark eras of history--has given me so many freedoms and choices not available to the current people of Russia and Ukraine.
"I dedicate this concerto to my Grandparents, and to all the immigrants who come to this country called “America” in search of safety and the promise of Hope."
The Movements
First Movement: Home of My Ancestors
This Russian klezmer-themed movement tells the tale of life in the Jewish ghettos and villages of late 19th and early 20th century Russia. Life had its joys and celebrations as well as its fears, especially of the Czar’s army showing up to desecrate what the villagers most loved and valued: their traditions, their homes, their temples. But, the Jewish people were and are resilient people who keep their spirits alive, even in the face of adversity. Finally, the time came for them to seek a new homeland.
Second Movement: The Crossing
In this movement, I imagined my Grandparents carrying what possessions they could, living in cramped steerage quarters far below deck on a huge ocean liner such as the Mauritania. The music captures the journey: feeling seasick, longing for their homeland, the great trepidation of crossing an endless ocean bound for “America,” which was probably more of a concept to them than an actual place. Their uncertainty is matched only by their determination to best the conditions on board; sometimes they dream of home.
Third Movement: The Arrival
At long last, they step onto the deck of the ship. Their excitement and anticipation grows as they make out New York Harbor on the horizon. The huge ship’s engines grind into reverse, as the shoreline grows closer and the harbor becomes clear. The reality dawns: a new life is awaiting them, in a country where they don’t speak the language, don’t understand its currency, and don’t have any friends or relatives waiting for them. Still, as they sail next to the Statue of Liberty, they understand her welcoming message, feeling grateful for their new homeland.
Lisa began studying classical piano at the age of six, and by age 16, she was writing and performing songs on piano and guitar. She went on to study music theory and composition at Humboldt State University and College of the Redwoods. Lisa's early musical influences range from Laura Nyro and Carole King to Harry Belafonte and Burt Bacharach. Later in life, she was drawn to the piano music of Keith Jarrett, David Lanz, Eddy Palmieri, Antonio Carlos Jobim, Barbara Higbie and Mary Watkins.
In the 1970s, Lisa performed in coffee houses on Fairfax Avenue in L.A. and went on to play piano in a rock 'n' roll band in San Francisco. In the 1980s she performed at the West Coast Women's Music Festival, and soon after toured Northern California with a ten-piece all women salsa band called Las Malandras. These genres have influenced her unique composing style, and Lisa has moved into more complex orchestration and arrangements in recent years.
Swerdlow's America is a concept of refuge as well as a land of new opportunities. America can be the first choice for a new start, but sometimes it was also the last resort after losing everything. Her concerto tells a story of loss and disaster, which resolves into a positive message of inspiration, survival and spiritual endurance.
The music was recorded at Piano Haven Studio, in Sedona, AZ. It was engineered by Joe Bongiorno, orchestrated by Doug Hammer, and mastered at Dreamworld Productions. The EP is available in various formats including physical CD, digital download, and streaming worldwide; Swerdlow's music can be found on Spotify playlists including Calming Piano and Strings, Elegant Music, Romantic Piano Moods, and many more.
Coming to America Concerto - Tracklist
"Movement 1: Home of My Ancestors" (3:36)
"Movement 2: The Crossing" (3:41)
"Movement 3: The Arrival" (3:42)
Buy, stream or download the Coming to America Concerto by Lisa Swerdlow from the platform of your choice: http://hyperurl.co/t9pn0h
Links:
Official website - http://lisaswerdlow.com/
Instagram - https://www.instagram.com/lisaswerdlow/
Facebook - https://www.facebook.com/LisaSwerdlowPiano/
Bandcamp - https://lisaswerdlow1.bandcamp.com/
Twitter - https://twitter.com/LisaSwerdlow
Concert Tix - https://thecenterforthearts.org/event/ten-hands-88-keys/
Preview: Coming to America Concerto
https://www.youtube.com/watch?v=fBi2JygDpz4
The music started with six little themes composed on a electric piano, which served as a harmonic basis for the improvisations. These improvisations were edited and manipulated, with the mixing and post-production playing a fundamental role in the construction of the record.
Keeping the Mediterranean-inspired melodies as a brand, in 'Chants' these were fused in a universe influenced by Miles Davis' electric phase (in 'Route'), by Dub (in 'Zadar') or the more ambient electronics ( in 'Lost Sign').
This record represents a new direction for Al-Jiçç, using the melodic side as a starting point for more electronic and contemporary universes.
“Keep It Inside” is a beautifully melancholic and space rock song with acoustic guitar, synths and a gorgeous string quartet arrangement. Historian’s vocals float through this backdrop and bring an altogether modern touch to an avant garde musical sound.
Historian worked closely together with Richard Conti (The Marches) who arranged the string quartet played by Quartetto Fantastico (Bjork, Flying Lotus).
Karman writes:
“This song is about my tendency to hold my feelings in when I’m feeling overwhelmed or despondent. sometimes it just feels like no one will understand what’s going on inside of me or, worse, that by sharing it I’m just being self-involved. Over time the feelings just boil over into a full-fledged depression.”
This ethereal track with the signature string sounds of Quartetto Fantastico fits in with the vision Karman wishes to explore, of today’s political and cultural climate. With the pandemic, and an almost wartime like atmosphere of lockdowns and political upheavals, “keeping it inside” seems no longer possible.
On Historian’s website, Karman states “The American empire is slowly crumbling in front of us … is it an ending or are we entering a new cycle? I don’t pretend to know.” And this is the type of honesty we all crave from our artists, hence why we should all be keeping our eyes our for this particular artist.
Stay current with Historian The Band online at: https://www.historiantheband.com/
https://www.facebook.com/Historiantheband/
https://www.instagram.com/historianreal/
https://www.youtube.com/channel/UCRJFluSa-tM1TEzmU5hNKXQ
Md. mahadi hasan munshi an emerging music artist has his songs on many popular sites including YouTube, Spotify, Deezer. He is optimistic about opening a music brand
He is a Bangladeshi popular Musical artist who has made a big name in the social media. He is an also influencer. He was born (October 25, 1999) Cumilla, Chandina.
Md Mahadi successfully completed his school secondary education from Chandina Government High School in 2019.
Md. Mahadi Hasan Munshi have a music Company With his hard work, dedication, the company has reached its peak in a short span of time. As a social media influencer and marketing strategist, he promotes social brand videos on social media with his influencer network across Bangladesh.
Md. Mahadi Hasan Munshi says that one should never stop learning. He believes that the day you stop learning, that day you’ll stop earning.
Tyler adds a tinge of reggae to the single in order to make it stand out in a way it hadn’t been tried before. The musical band behind the name Pharaoh’s Dream were also able to contain the integrity of the original composition while adding their own unique twist to the musicality. Whereas Bobby’s single was very fast paced and incredibly jazzy, David takes his own personal approach to honor his favorite song. Slowing the song and adding extra minor chords with the piano makes the song feel much more personal and adds a level of emotion that didn’t exist in the original. This emotion is far more sorrowful and can help listeners connect to the music in a manner that hadn’t been possible before.
David also uses his voice to make this song his own. He adds variation and hits notes not in the original in order to showcase his own talent through a classic song. David encapsulated the brand of Pharaoh’s Dream while being able to achieve his dream of covering one of his personal favorite songs. David’s influences allow him to appeal not only to some younger demographics who listen to this music, but to older generations who grew up listening to these very same artists. Pharaoh’s Dream has kept “Sunny” shining bright and brought back some good memories by creating and releasing this amazing remake.
Stream “Sunny” Here:
https://open.spotify.com/album/0Fr06HEwBWkx1jazgCTiXt?si=AmBtqwwrTkCfVlfEn9XERw&dl_branch=1
Follow Pharaoh’s Dream Here:
https://pharaohsdreammusic.com/home
https://www.instagram.com/pharaohsdreammusic/
https://www.facebook.com/pharaohsdreammusic/
https://www.youtube.com/channel/UCfeF7Y76XxaQqqXQLg4eFLw
The Vancouverite’s gentle new single, “Enamel,” was recorded almost entirely with one microphone, creating an alternative, vocally experimental piece of folk.
While moving into a new space, Cain and his partner got into a few heated arguments, but decided to focus on finishing the job instead of communicating and taking the time to make up.
“Enamel” is about exactly this: focusing so much on succeeding with something that you ignore tying up loose ends in other parts of your life.
Sometimes people would rather talk about anything than have an important (but painful) conversation.
Dive in here:
https://soundcloud.com/wilkins-mat/enamel
Their symbiotic improvisations generate a single sonic output, blurring the lines of cause and effect. Classically trained, Finer’s “alarmingly proficient” (Popdose) contemporary saxophone techniques have drawn comparisons to Colin Stetson and Bendik Giske. Haggart (aka Stereo_IMG) has used his background in cinematic sound design to build a reputation in Montreal’s techno and experimental electronic scenes as a meticulous craftsman. Together the duo unravels dark, stream-of-conscious narratives as Haggart wields a chain of effects hardware to manipulate Finer’s live saxophone.
Two improvisers. One output. Full send.
Their new album is a journey of hypnotic meditations and digital terror. A voyage into our shared imaginations. An escape to unfamiliar worlds.
Listen to the album here: https://finerhaggart.bandcamp.com/album/when-im-thinking-in-your-mind
Dion resides in Boulder, CO where his light Americana style resembles that of David Gray, Ryan Adams, and John Mayer with a side of Jerry Garcia. His percussive guitar mixed with insightful lyrics, inspired his other career as a therapist. Dion adds his own unique sound to his influences, which creates an artistic blend of passion and storytelling.
Simon & Garfunkel, Crosby Stills & Nash, and John Denver, are just a few names who have set Jeremy on the road to soulful harmonies and technical guitar playing. As he grew as an artist, he incorporated rock & roll, bluegrass, and Americana where he developed a sound of contemporary folk and acoustic rock that is engaging and honest. What sets his music apart is his ability to dive inside of the mind being a psychotherapist and really connect with people on a deeper level.
Well, we hope he keeps connecting and making this kind of music as “Blowin Smoke”
You can listen to it here:
https://open.spotify.com/track/2kNUML9Tzmz2uVTt0ih2iO?si=34664b3059ba45b5
You can find Jeremy via:
Website: https://www.jeremydion.com/
Instagram: https://www.instagram.com/jeremydion
Facebook: https://www.facebook.com/jeremydionmusic
Twitter: https://www.twitter.com/jeremydionmusic
Spotify: https://open.spotify.com/artist/6j3IzH103I2HgACsTeE6pC?si=EujExSUrQEmh6YgmwwrMTQ&dl_branch=1
Bryan says "The inspiration for the album was an overview of looking at life where I currently was and coming to an understand how my friendships and relationships were going and changes that needed to be made. Basically it's about being true to yourself and your mistakes but also realizing your strength and where you right and how one day we're one of things and the next day the other. These Decision is about people having a narrow view of situations and taken a selfish slanted opinion or approach to overall things in life. Manifested by whatever troubles or experiences have shaped them."
As a drummer for Owen's Grudge, a popular local melodic hard rock band from Northeastern Pennsylvania during the early 2000's- Banks provided solid groove oriented drumming and rich vocal harmonies for the group. A shift in the bands direction lead him to pursue other musical ventures, which included accompanying drums and percussion for some of the areas top acoustic acts as well as filling in the drum chair as needed for other local bands. An overwhelming desire to write original material again lead him to start putting together subtle guitar parts eventually leading to the genesis of the solo CD project "The Sudden Sounds Of Urgency". With songs featuring heavy melodic guitar tones, soulful vocals and a driving back beat this artist just might become of your new favorites.
You can hear his album on Spotify here:
https://open.spotify.com/album/76mO9Tk1anZ6On1l9LER8K
If "The Sudden Sounds of Urgency" interests you, you will definitely love his most recent single "The Less You know," which is the perfect follow up to the album. You can listen to "The Less You Know" here:
https://open.spotify.com/track/7dSlc9OOcHMNkLoUIilL9B?si=512c0024565e4ac9
You can connect with Bryan via:
Website: bryanbanksmusic.com
Instagram: https://www.instagram.com/bryan_banks_music/
Facebook: https://www.facebook.com/Bryanbanksmusic
Twitter: https://twitter.com/bryanbanksmusic
Spotify: https://open.spotify.com/artist/6Vpl8Iqe1e3eDDcY741hDX
Живка Миладинова и Теодора Катончева триумфираха на World folk 2021 в категория „Автентичен фолклор“. Родните хубавици бяха отличени за акапелното си изпълнение на песента „Ой, соколе“. 11-ото световно първенство по фолклор се проведе онлайн в Несебър и Поморие в последната седмица на август. „Жу Те“ получи право на участие, след като по-рано през лятото спечели и европейския шампионат, където блесна с песента „Айда сънце“.
„Тази награда за нас е голямо постижение, тя е плод на много труд. За нас това е знак, че сме добри в това, което правим. Българската народна музика е обичана в цял свят и това е поредното доказателство. Всеки, който има таланта да пее и иска да се развива с български фолклор, трябва да е готов да се бори, да се труди и да не се отказва“, споделиха изпълнителките пред „Телеграф“.
Живка и Теодора са дует от 2008 г., когато започват да изучават музикална педагогика в ЮЗУ „Неофит Рилски“. Те са типични представителки на македонския край, родени съответно в Якоруда и Разлог. Момичетата печелят още редица фолклорни фестивали, като „Пирин пее“, „Копривщица“, международния конкурс „Пауталия“ в Кюстендил, първия онлайн международен великденски конкурс „Светлини и таланти“ и първия национален фестивал на изкуствата „На върха“ в Боровец. През тази година участваха за първи път на „Пирин фолк“, където останаха извън призовата тройка. Живка и Теодора признават, че се вдъхновяват от величията във фолклорната ни музика Гуна Иванова и Румяна Попова. Любопитното е, че когато не са на сцената, те отново са заедно в професията си. Двете са учителки в една и съща детска градина в София и сами дават пример на малчуганите в българските традиции и обичаи.
François Essindi a été récompensée par ses Ancêtres... L artiste vide son répertoire et invite officiellement d autres artistes à intervenir dans ce Répertoire pour une production plus élaborée. Comme une bouteille à la Mer; le Cd «Tag Ekang Music Expérience...» est un appel officiel à participation au plus grand nombre. Sans attendre les Coups de cœur, les nominations, les Victoires et les Prix des musiques des Music Awards... François Essindi Abakuya croit au travail, à la foi et à la collaboration, car« Un Autre Monde est possible »
L'artiste dit rester en écouté pour une suite favorable à son appel...
Le lien découte du Cd « Tag Ekang Music Expérience... » :
- Apple Music: https://music.apple.com/fr/album/tag-ekang-music-exp%C3%A9riences-instrumental/1577945872
- https://music.apple.com/fr/album/tag-ekang-music-experience/1580553281
- Deezer: https://www.deezer.com/fr/album/246759962
- https://www.deezer.com/fr/album/250776012
- Spotify: http://open.spotify.com/album/2coMfalu4boVrR5FdjN8Zi
- https://open.spotify.com/album/2q7Va6vBJG0c7Kx3pa8fKC
- Amazon Music: https://music.amazon.fr/albums/B09B418311
- https://music.amazon.fr/albums/B09C9F1NMT
Merci
The band’s new single “High Hopes” is a unifying call to get to know one another again and show up in ways that are meaningful. To reach out to the people that seem to be fading away and remember the things that bring us to life.
Discover The Pairs here >>
https://soundcloud.com/user-388918100/01-high-hopes/s-S5tRTrecvW4
Being able to feel both the darkness and the light simultaneously is where Eric finds his truth, both in life and in art. His debut single, “Criminal,” exudes this feeling through telling a story of his own introspection.
Colourful, authentic, and honest, “Criminal” was inspired by a time in Eric’s life when he spent a lot of time alone, bailing on plans to lock himself in his room and write a bunch of ‘songs.’ Reflecting on his life and looking towards a better future, this song acknowledges that it is okay to admit your vulnerabilities – this is part of being human.
Discover the track here >> https://open.spotify.com/album/1XrOATnrgn9YF7n3a9XpII
One of the reasons your ears might catch the new world vibe is that it includes 4 languages - te reo Māori (Aoteaoroa/NZ), NZ english and samples in Spanish and Italian which are all part of Huia’s whakapapa (lineage). The lyrics speak of how the moon can bring memories flooding back, how she can give comfort over the ages to all who gaze at her beauty. This is the start of a new world sound for summer touring as Huia has played at festivals such as Splore and RnV to name a few.
As one of Aotearoa's only te reo Māori Dnb world music vocalists, this release marks 11 years since her first te reo Māori release, with a solo set at Rozella Presents, Red Lounge sessions with Matt Rapid, Page Julia and Mystic Roots. She released 2 new tunes ‘Kanikani’ and ‘Makereti’ in 2019 and 2018 saw her release her E.P. Āio.
The lead single ‘Āio’ from the EP hit #16 on NZ Hot Singles Charts in the first week and was the only Te Reo Māori single in the top 20. Huia’s back catalogue is playlisted all round the world, from France, in the Highlands of Scotland, to Melbourne and Waiheke Island. Huia has 2 singles on the ‘TOKA EP’ by Baitercell, ‘Hine Ruru’ and ‘Te Wai Te Ora’ which were both openly praised for being a Dnb te reo Māori tune that has mass appeal. It even featured on George Fms website for Matariki and online on Te Ao show (160,000+ reach). Huia is an award winning producer and has a new album in the works, which will be mainly english and will be a lot of tunes she has written over the years that need to be released!
“Āio itself is an absolute breath of fresh air in today's music scene - a scene that (although I love) is often inundated with songs about getting lit, and having your heart broken - instead Huia leans more towards a perfect little blend of taking care of your inner self, and also of the natural world that we are surrounded by.” (Amanda Hailwood for Muzik.net.nz)
For more on Huia and ‘Marama La Luna’ - www.iamhuia.com/huiamusic
Marama - La Luna
Huia
Intro
When I sing to te marama (moon)
When I sing to la luna (spanish moon)
Ka waiata au ki te marama (I will sing to the moon)
When I sing to La Luna (moon) (spanish)
V1
Kāore au i te mokemoke x 2 (I am not lonely)
Kei raro i tō whiti, kei raro i tō whiti (Under your shine, under the shine)
Ko Hiwa-i-te-rangi au x 2 (I am Hiwa-i-te-rangi)
Kei raro i tō whiti (Under your shine)
I feel you glow
CH
When I sing to te marama (moon)
When I sing to la luna (spanish moon)
Ka waiata au ki te marama (I will sing to the moon)
When I sing to La Luna (moon) (spanish)
V2
Karanga mai, karanga mai taku tau (Call to me, call to me my beloved)
Kei te mārama tō kōrero (You’re speaking has clarity)
Kei te mārama tō wairua (Your spirit has clarity)
Ko Matariki au x 2 (I am Matariki)
Kei raro i tō whiti (Under your shine)
Now the world knows x 2
BR
Ka rere mai te whakaora x 2 (echo) (Now the healing comes)
CH x 2 (end)
Jeffrey Ericson Allen is an Oregonian composer, cellist and electronic music recording artist with an extensive and eclectic background in classical, new acoustic and theatrical music production. Chronotope Project represents his most recent expression as a creator of contemporary progressive ambient music. “Chronotope” refers to the essential unity of space and time, a concept with numerous expressions in literature, physics and the arts. The music of Chronotope Project explores this time-space confluence and invites the listener on ambient journeys of deep texture infused with gentle pulsing rhythms and soulful melodies. His newest album is titled γνῶσις which translates to Gnosis.
The album debuts on Spotted Peccary Music, in physical, digital and streaming formats worldwide, have a listen: https://orcd.co/gnosis
A new video for the track “Entelechy, Emergent Order” premieres Friday, August 20, 2021 at 1:00 pm PST / 4:00 pm EST on Spotted Peccary's YouTube channel.
For inspiration, Allen reconnected with the ancient Greek philosophers who he was first enraptured with in his twenties. He found music in Plato’s inquiries; he saw in philosophical paradoxes the push-and-pull of musical counterpoint, the tension and release of dissonance and resolution. On GNOSIS (γνῶσις), Chronotope Project uses his signature jazz and classical-inflected progressive ambient sound to portray the greatest philosophical inquiry of all: a quest for knowledge.
Reflections on Plato permeate the work. The artist expands upon this vision, "I’m intrigued with his rich imagery and have found much music in it. The dialectical style of the dialogues has often reminded me of the conversational elements of music.” He continues, “It is not necessarily Plato’s philosophical answers, but his framing of the questions, and the passion with which they are posed that most inspire me. The antinomies present in Plato’s philosophical inquiry are akin both to the procedure of musical counterpoint and to the tension and release of harmonic dissonance and resolution which animate music and provide a sense of forward motion."
Allen continues, "Besides being essentially expressive, music is communication, a reaching out to our fellow sojourners on the planet, a desire to connect on a non-rational level. For me, music is fundamentally an expression of wonder, a way to touch mysteries within and beyond me, a way to bring unconscious impulses into the flow of the waking world, to dream aloud. No one expressed it better than Glenn Gould:
“I believe that the justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity.”
Sound is the subtlest and most transient of artistic media. We compose scores or create recordings, but only while the music plays, and someone listens, does it exist. A piece of music may have a beginning, middle and end, it may be tightly or only loosely structured, but its form is invisible and only perceptible as a function of change over time. So it has this unique way of existing in and outside of time.
Like storytelling, music is an attempt to create a narrative that structures our inner world, a way to bring coherence and meaning to the chaos of life.
Q: What is listening?
A: Listening is attention. It is the quieting of the mind to allow the surrounding vibrations to penetrate our awareness. Perceiving musical sounds require presence, but also memory and anticipation to become coherent; the meaning of a melody, harmonic progression or a rhythm requires us to take in a larger present-moment, one that can encompass a history of pitch, texture and accentuation. We hear not just a succession of pitches, but a musical phrase that reveals itself over time.
Listening, as an auditor, is surrendering oneself to what is being presented, allowing it to sink in a work on us.
Listening, as a performer, is the art of attending carefully to what fellow musicians are doing in creating and shaping sound. It is acknowledging that music is a form of conversation, requiring give and take and adaptation to the moment.
As a composer, listening is the art of attending to the possibilities of as-yet unheard sounds that populate the unconscious. Often, when I am layering tracks, I listen for intriguing parts of the texture that are suggested, but not explicit, then emphasize them. Listening is essential to improvisation, the playful response to existing sounds, followed by shaping and structuring.
Deep listening is humility; it is letting go of personal purposes and agendas to embrace the wonder of sound that is everywhere, to partake of what is not myself in order to better know myself. When the old Zen teachers asked students to listen for the sound of one hand clapping, they were trying to draw out this kind of humility. Deep listening is not identifying, judging or otherwise mentally commenting on sounds, but experiencing them as they come. I try to spend some time every day listening in this way. It's difficult, if not impossible, for me to do this with music, but just sitting quietly with whatever sounds are present in the environment is good practice.
Throughout my life as a musician, I have tried to cultivate my ear, along with my craft of making music. My aim is to keep the ear always slightly ahead of my technique. If the ear lags, I may become complacent or over-confident; if it stretches too far ahead of my craft, I may be setting myself up for crushing dissatisfaction. This part of listening is the part I identify with longing, the reach exceeding the grasp.
Q: What is your goal as a composer?
A: I want to connect intimately with the solitary listener. I treasure the communications I have received from listeners who have in some way deeply connected and really resonated with my music. I no longer have any particular interest in chasing or cultivating followers or fans as an aggregate, or in securing some position or credential in my genre. My goal is to reach the height of my craft, to create with all of the longing, loving care and attention to detail I can muster. With each new work I complete, I want to be able to say that I have transcended what came before it. I do not make anything with a view to what I think my audience will want or like; my aim is to try to satisfy myself that I have done my very best work, that I have grown in my art.
I also aim to continue to develop my own unique style, to offer a contribution to my art form that is original and coherent and expressive of who I am as a person and an artist. It is a high compliment to be told "I heard this piece, and I recognized it as yours." It has taken years of experimentation to develop a style, and of course that style must and will continue to evolve and change, but I see no point in making music that sounds like everyone else's. This is tied to my personal goal of what Maslow called individuation. It is the lifelong project of becoming oneself. Art is an excellent way to pursue this project, and while my life is very conventional in many respects, music offers me a way to discover and develop a unique identity. So for me, to work on music is to work on myself.
Q: What is your advice to artists who are starting their careers?
A: Be patient, and focus on developing your craft. Don't be too eager for recognition; I have made this mistake and regretted it. Don't try to please anyone else with your music: please yourself instead. T.S. Eliot once exchanged letters with an aspiring young poet who was concerned with reviews and reception. He counseled the poet with this wisdom: "It is enough to do your own work--the rest is none of your business."
Most musical recordings have a very short life in the public arena. In the first few months, your work may be played on the radio, reviewed and talked about and given whatever fleeting attention it may garner. And unless you've succeeded in producing a classic, in less than a year, radio producers move on. The public appears mostly interested in what is latest, what is new. Don't let this discourage you. Move on to the next work, and make it better. Maybe you will eventually create something less ephemeral, but remember: "the rest is none of your business."
Cultivate your musicianship. Train your ear, work on your playing chops, extend your knowledge of music theory. Stay hungry for the craft.
Develop good working habits and revisit your workflow every so often. Read your manuals, and learn your hardware--and software--inside out. Resist technolust. Don't get addicted to buying new gear. Most electronic musicians fail to take full advantage of what they already have, and think that some new gear will magically transform their music; it probably won't. What will transform your music is you.
This may be terrible advice, but I'll offer it anyway: Stay with the music itself, not the image you may be asked to project as a musician. The music industry emphasizes image far too much. Music has to be packaged and sold, and you may be asked to put forward some glamorous or grandiose posture. Personally, I think that even if it may sell more albums, it's not worth it. In the worst case scenario, you may come to believe in the personna projected and indulge in some form of artistic narcissism. That's very unhealthy for you as a human being. Yes, you will probably have to do photoshoots and interviews, but try to resist the projections of "the artist" that will be foisted on you. Maybe you and I will find ourselves on the vanguard of something new and refreshing: sincerity. Let's resist idolatry and give it a shot, shall we?
Q: Are you able to bring ideas back from your nocturnal dreams?
A: When I was in college, I once dreamed of wonderful music--a string quartet. When I awoke, I was excited, because I still remembered it in some detail. I skipped classes and hunkered down with a piano in a practice room at the school of music. I worked in a frenzy until late in the day, convinced that I had the makings of a masterpiece. Only when I got back to my dorm to finally take a shower did I realize the cosmic joke of it. The music was a masterpiece; it was the first movement of Ravel's magnificent F-major string quartet! Somehow, I had managed to believe that it was my own creation. I was still under the spell of the dream. While I had transcribed it in a different key, I went to the music library and checked out the score. I had actually written out a decent facsimile of part of the first movement. It's funny now, and slightly embarrassing, but here's what stuck with me: for a few brief hours, I believed myself to be in the grips of an astonishing, white-hot inspiration. It was exhilarating. I'm no Maurice Ravel and will never be, but since then, I have had other dionysian flashes of creative mania, in which I work without pause. Some of them have produced viable work. But mostly these days, my artistic process is rather work-a-day and not especially glamorous. Perhaps I have lost some of my youthful Romantic spirit, but I am content to simply show up and do the work now. When inspiration comes more volcanically, I can enjoy and embrace that, but it still has to be worked.
One dream image that I have retrieved and made use of is a personification of my Muse I have called "Erda." She is primal, my reflection of the Eternal Feminine, a dweller of subterranean spaces. For years, she appeared to me in dreams and served as a guide, often helping me to find my way out of caves and labyrinths, a bit like Ariadne. One morning, I awoke from an especially vivid dream of her, and I gave her a name and painted her portrait. She has never visited my dreams since then--perhaps she no longer needs to. She is a mistress of melancholy and mystery, elements which pervade much of my music. Just recently, my image of Erda has made its way into the artwork for the album Gnosis. I'm very glad she's there, accompanying a piece called "The Still Small Voice." So a strong dream can percolate into the waking world and be of some help, when attended to.
Truth be told, I rarely have meaningful dreams these days, but one thing I value even more about sleep is the way the brain processes problems and difficulties and often supplies answers on awakening. I like the Russian proverb, "Mornings are wiser than evenings," and when I reach an artistic or technical impasse, I often just sleep on it and trust my unconscious mind to process it while I sleep. I am often rewarded with successful solutions.
Q: What are your most cherished accomplishments?
A: I have been involved in some very rich artistic and satisfying collaborations. One was the stage drama, The Descent of Inanna, based on the ancient Sumerian myth of a goddess' descent into the underworld. It was offered in a local theatre and incorporated poetry, masks, dramatic staging, and a continuous score I composed. The poet, director, actors, mask-maker and I worked on it for over a year in a collaborative process that was very organic, and I think the result was stunning. I have also highly prized my various collaborations with modern dance choreographers, and fully enjoyed the work of making individual pieces and full-length performance works. I am also proud of my recorded music catalog. Since the early 90s, I've recorded eleven solo instrumental albums, and feel that the work has grown and matured with each. I also have some classical compositions that I'm very happy with, including a suite for solo cello, Eclipse, which was performed at the Oregon Bach Festival some years back.
Q: What have been your most important discoveries?
One important discovery, in my artistic journey, has been recognizing the importance of failure. I have a respectable body of completed works, but you should see my catalog of false starts, unrealized pieces and artistically untenable ideas! This used to frustrate me, but I have come to embrace my unworkable ideas--mental flotsam and jetsam--as part of the process of finding something worth developing. I made a piece of visual art that now hangs in the studio as a reminder. A few years ago, I found a box of music manuscripts that contained hundreds of my sketches that went nowhere. I decided to turn some of them into a collage of torn scraps, pasted over an image of the Buddha. Only one eye of the Budda, a bit of his head and a piece of his mouth poke through. Each musical fragment is outlined with a gold kintsugi border, reminding me that even what is broken, incomplete or faulty has its own purpose, and even a kind of beauty. The little bits of Buddha that show through remind me that there is "Buddha nature" even in what is rejected. I try to see my life in the same way, collaging my unhappy choices, failures and regrets on the canvas of memory, and forging them together with a golden seam. Our missteps and sufferings, as well as our successes, are part of the larger and richer human experience that add up to a complete life. As a composer, all feelings are to be honored and welcomed. Rumi says:
This being human is a guest house.
Every morning a new arrival.
A joy, a depression, a meanness,
some momentary awareness comes
as an unexpected visitor.
Welcome and entertain them all!
Even if they’re a crowd of sorrows,
who violently sweep your house
empty of its furniture,
still, treat each guest honorably.
He may be clearing you out
for some new delight.
For deeper inspiration, Allen reconnected with the ancient Greek philosophers who he was first enraptured with in his twenties. He found music in Plato’s inquiries; he saw in philosophical paradoxes the push-and-pull of musical counterpoint, the tension and release of dissonance and resolution. On GNOSIS (γνῶσις), Chronotope Project uses his signature jazz and classical-inflected progressive ambient sound to portray the greatest philosophical inquiry of all: a quest for knowledge.
This quest is painted with a wide array of styles: deep drones and ambient textures, classical counterpoint and driving polyrhythms, atonal sound painting and unabashed romanticism. The diverse sounds here are anchored by the flute-like timbre of the Haken Continuum Fingerboard synthesizer, which appears throughout as the knowledge-seeking protagonist. These richly-layered soundscapes evoke the majesty of myth, from the cosmic arpeggios of “Higgs Field, Cauldron of Being” to the intimate pastoral of “The Still Small Voice.”
Allen’s skill as a sonic storyteller is on full display in every aspect of Gnosis. “Lethe, the River of Forgetfulness,” finds the seeker drifting down one of the five rivers of Hades. Souls drink from Lethe to let go of their mortal memories before continuing their journey. A cello bassline embodies Lethe’s current, pulling the seeker further and further; a subtle Rhodes piano entwines with the Haken Continuum as the seeker’s memories drift away into the water. Then, on “Eidos, Realm of the Forms,” the seeker arrives at the Eternal Forms, which possess the structure needed to understand the world’s true nature. The seeker’s questions spiral through the hypnotic rhythm of the Forms, built from warm textures and hand percussion. In the album closer, the eerie and harrowing “Myth of the Cave,” the seeker vanishes, overwhelmed by the truth of the absolute—before, knowledge achieved, a twirling harp ushers in an ascendant finale.
"Gnosis" is one of many Greek words for knowledge, referring to knowledge gained through experience. The breadth of this album reflects this: GNOSIS (γνῶσις) traverses the ominous and serene, the harmonic and the dissonant to render the accords and contradictions of philosophy in Chronotope Project’s signature cinematic sound.
Jeffrey Ericson Allen is credited with all compositions, performances, recording and mixing; the album was mastered by Howard Givens, and midwifed by Deborah Martin. GNOSIS (γνῶσις) is available for physical purchase in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats. The CD version of GNOSIS (γνῶσις) arrives in a gift-worthy factory sealed 6-panel gatefold package that includes vibrant artwork, liner notes, a 6-page booklet, and artful package design by Daniel Pipitone.
Media may request artist interviews, media review copies, and additional artwork from Beth Ann Hilton (beth@spottedpeccary.com) at Spotted Peccary Music.
Tracklist:
1 Higgs Field: Cauldron of Being
2 Lethe, the River of Forgetfulness
3 Eidos, Realm of the Forms
4 The Still Small Voice: The Muse Speaks
5 Entelechy, Emergent Order
6 Myth of the Cave
About Chronotope Project:
Jeffrey Ericson Allen is an Oregonian composer, cellist and electronic music recording artist with an extensive and eclectic background in classical, new acoustic and theatrical music production. Chronotope Project represents his most recent expression as a creator of contemporary progressive ambient music. “Chronotope” refers to the essential unity of space and time, a concept with numerous expressions in literature, physics and the arts. The music of Chronotope Project explores this time-space confluence and invites the listener on ambient journeys of deep texture infused with gentle pulsing rhythms and soulful melodies. https://chronotope-project.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 at www.SpottedPeccary.com and www.AmbientElectronic.com.
Links:
Smart link: https://orcd.co/gnosis
Album Overview and links: https://spottedpeccary.com/shop/gnosis/
Unboxing video: https://www.youtube.com/watch?v=YBUlACfDHYc
bandcamp: https://ambientelectronic.bandcamp.com/
Instagram: https://www.instagram.com/spottedpeccary/
Facebook: https://www.facebook.com/spottedpeccary
Spotify: https://open.spotify.com/album/1b5OZ08E4AAtPlYcGkFhf6?si=XT7S5fOiQjqzD1oUJ7TrHw&dl_branch=1
The album debuts on Spotted Peccary Music, in physical, digital and streaming formats worldwide, have a listen: https://orcd.co/gnosis
A new video for the track “Entelechy, Emergent Order” premieres Friday, August 20, 2021 at 1:00 pm PST / 4:00 pm EST on Spotted Peccary's YouTube channel.
For inspiration, Allen reconnected with the ancient Greek philosophers who he was first enraptured with in his twenties. He found music in Plato’s inquiries; he saw in philosophical paradoxes the push-and-pull of musical counterpoint, the tension and release of dissonance and resolution. On GNOSIS (γνῶσις), Chronotope Project uses his signature jazz and classical-inflected progressive ambient sound to portray the greatest philosophical inquiry of all: a quest for knowledge.
Reflections on Plato permeate the work. The artist expands upon this vision, "I’m intrigued with his rich imagery and have found much music in it. The dialectical style of the dialogues has often reminded me of the conversational elements of music.” He continues, “It is not necessarily Plato’s philosophical answers, but his framing of the questions, and the passion with which they are posed that most inspire me. The antinomies present in Plato’s philosophical inquiry are akin both to the procedure of musical counterpoint and to the tension and release of harmonic dissonance and resolution which animate music and provide a sense of forward motion."
Allen continues, "Besides being essentially expressive, music is communication, a reaching out to our fellow sojourners on the planet, a desire to connect on a non-rational level. For me, music is fundamentally an expression of wonder, a way to touch mysteries within and beyond me, a way to bring unconscious impulses into the flow of the waking world, to dream aloud. No one expressed it better than Glenn Gould:
“I believe that the justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity.”
Sound is the subtlest and most transient of artistic media. We compose scores or create recordings, but only while the music plays, and someone listens, does it exist. A piece of music may have a beginning, middle and end, it may be tightly or only loosely structured, but its form is invisible and only perceptible as a function of change over time. So it has this unique way of existing in and outside of time.
Like storytelling, music is an attempt to create a narrative that structures our inner world, a way to bring coherence and meaning to the chaos of life.
Q: What is listening?
A: Listening is attention. It is the quieting of the mind to allow the surrounding vibrations to penetrate our awareness. Perceiving musical sounds require presence, but also memory and anticipation to become coherent; the meaning of a melody, harmonic progression or a rhythm requires us to take in a larger present-moment, one that can encompass a history of pitch, texture and accentuation. We hear not just a succession of pitches, but a musical phrase that reveals itself over time.
Listening, as an auditor, is surrendering oneself to what is being presented, allowing it to sink in a work on us.
Listening, as a performer, is the art of attending carefully to what fellow musicians are doing in creating and shaping sound. It is acknowledging that music is a form of conversation, requiring give and take and adaptation to the moment.
As a composer, listening is the art of attending to the possibilities of as-yet unheard sounds that populate the unconscious. Often, when I am layering tracks, I listen for intriguing parts of the texture that are suggested, but not explicit, then emphasize them. Listening is essential to improvisation, the playful response to existing sounds, followed by shaping and structuring.
Deep listening is humility; it is letting go of personal purposes and agendas to embrace the wonder of sound that is everywhere, to partake of what is not myself in order to better know myself. When the old Zen teachers asked students to listen for the sound of one hand clapping, they were trying to draw out this kind of humility. Deep listening is not identifying, judging or otherwise mentally commenting on sounds, but experiencing them as they come. I try to spend some time every day listening in this way. It's difficult, if not impossible, for me to do this with music, but just sitting quietly with whatever sounds are present in the environment is good practice.
Throughout my life as a musician, I have tried to cultivate my ear, along with my craft of making music. My aim is to keep the ear always slightly ahead of my technique. If the ear lags, I may become complacent or over-confident; if it stretches too far ahead of my craft, I may be setting myself up for crushing dissatisfaction. This part of listening is the part I identify with longing, the reach exceeding the grasp.
Q: What is your goal as a composer?
A: I want to connect intimately with the solitary listener. I treasure the communications I have received from listeners who have in some way deeply connected and really resonated with my music. I no longer have any particular interest in chasing or cultivating followers or fans as an aggregate, or in securing some position or credential in my genre. My goal is to reach the height of my craft, to create with all of the longing, loving care and attention to detail I can muster. With each new work I complete, I want to be able to say that I have transcended what came before it. I do not make anything with a view to what I think my audience will want or like; my aim is to try to satisfy myself that I have done my very best work, that I have grown in my art.
I also aim to continue to develop my own unique style, to offer a contribution to my art form that is original and coherent and expressive of who I am as a person and an artist. It is a high compliment to be told "I heard this piece, and I recognized it as yours." It has taken years of experimentation to develop a style, and of course that style must and will continue to evolve and change, but I see no point in making music that sounds like everyone else's. This is tied to my personal goal of what Maslow called individuation. It is the lifelong project of becoming oneself. Art is an excellent way to pursue this project, and while my life is very conventional in many respects, music offers me a way to discover and develop a unique identity. So for me, to work on music is to work on myself.
Q: What is your advice to artists who are starting their careers?
A: Be patient, and focus on developing your craft. Don't be too eager for recognition; I have made this mistake and regretted it. Don't try to please anyone else with your music: please yourself instead. T.S. Eliot once exchanged letters with an aspiring young poet who was concerned with reviews and reception. He counseled the poet with this wisdom: "It is enough to do your own work--the rest is none of your business."
Most musical recordings have a very short life in the public arena. In the first few months, your work may be played on the radio, reviewed and talked about and given whatever fleeting attention it may garner. And unless you've succeeded in producing a classic, in less than a year, radio producers move on. The public appears mostly interested in what is latest, what is new. Don't let this discourage you. Move on to the next work, and make it better. Maybe you will eventually create something less ephemeral, but remember: "the rest is none of your business."
Cultivate your musicianship. Train your ear, work on your playing chops, extend your knowledge of music theory. Stay hungry for the craft.
Develop good working habits and revisit your workflow every so often. Read your manuals, and learn your hardware--and software--inside out. Resist technolust. Don't get addicted to buying new gear. Most electronic musicians fail to take full advantage of what they already have, and think that some new gear will magically transform their music; it probably won't. What will transform your music is you.
This may be terrible advice, but I'll offer it anyway: Stay with the music itself, not the image you may be asked to project as a musician. The music industry emphasizes image far too much. Music has to be packaged and sold, and you may be asked to put forward some glamorous or grandiose posture. Personally, I think that even if it may sell more albums, it's not worth it. In the worst case scenario, you may come to believe in the personna projected and indulge in some form of artistic narcissism. That's very unhealthy for you as a human being. Yes, you will probably have to do photoshoots and interviews, but try to resist the projections of "the artist" that will be foisted on you. Maybe you and I will find ourselves on the vanguard of something new and refreshing: sincerity. Let's resist idolatry and give it a shot, shall we?
Q: Are you able to bring ideas back from your nocturnal dreams?
A: When I was in college, I once dreamed of wonderful music--a string quartet. When I awoke, I was excited, because I still remembered it in some detail. I skipped classes and hunkered down with a piano in a practice room at the school of music. I worked in a frenzy until late in the day, convinced that I had the makings of a masterpiece. Only when I got back to my dorm to finally take a shower did I realize the cosmic joke of it. The music was a masterpiece; it was the first movement of Ravel's magnificent F-major string quartet! Somehow, I had managed to believe that it was my own creation. I was still under the spell of the dream. While I had transcribed it in a different key, I went to the music library and checked out the score. I had actually written out a decent facsimile of part of the first movement. It's funny now, and slightly embarrassing, but here's what stuck with me: for a few brief hours, I believed myself to be in the grips of an astonishing, white-hot inspiration. It was exhilarating. I'm no Maurice Ravel and will never be, but since then, I have had other dionysian flashes of creative mania, in which I work without pause. Some of them have produced viable work. But mostly these days, my artistic process is rather work-a-day and not especially glamorous. Perhaps I have lost some of my youthful Romantic spirit, but I am content to simply show up and do the work now. When inspiration comes more volcanically, I can enjoy and embrace that, but it still has to be worked.
One dream image that I have retrieved and made use of is a personification of my Muse I have called "Erda." She is primal, my reflection of the Eternal Feminine, a dweller of subterranean spaces. For years, she appeared to me in dreams and served as a guide, often helping me to find my way out of caves and labyrinths, a bit like Ariadne. One morning, I awoke from an especially vivid dream of her, and I gave her a name and painted her portrait. She has never visited my dreams since then--perhaps she no longer needs to. She is a mistress of melancholy and mystery, elements which pervade much of my music. Just recently, my image of Erda has made its way into the artwork for the album Gnosis. I'm very glad she's there, accompanying a piece called "The Still Small Voice." So a strong dream can percolate into the waking world and be of some help, when attended to.
Truth be told, I rarely have meaningful dreams these days, but one thing I value even more about sleep is the way the brain processes problems and difficulties and often supplies answers on awakening. I like the Russian proverb, "Mornings are wiser than evenings," and when I reach an artistic or technical impasse, I often just sleep on it and trust my unconscious mind to process it while I sleep. I am often rewarded with successful solutions.
Q: What are your most cherished accomplishments?
A: I have been involved in some very rich artistic and satisfying collaborations. One was the stage drama, The Descent of Inanna, based on the ancient Sumerian myth of a goddess' descent into the underworld. It was offered in a local theatre and incorporated poetry, masks, dramatic staging, and a continuous score I composed. The poet, director, actors, mask-maker and I worked on it for over a year in a collaborative process that was very organic, and I think the result was stunning. I have also highly prized my various collaborations with modern dance choreographers, and fully enjoyed the work of making individual pieces and full-length performance works. I am also proud of my recorded music catalog. Since the early 90s, I've recorded eleven solo instrumental albums, and feel that the work has grown and matured with each. I also have some classical compositions that I'm very happy with, including a suite for solo cello, Eclipse, which was performed at the Oregon Bach Festival some years back.
Q: What have been your most important discoveries?
One important discovery, in my artistic journey, has been recognizing the importance of failure. I have a respectable body of completed works, but you should see my catalog of false starts, unrealized pieces and artistically untenable ideas! This used to frustrate me, but I have come to embrace my unworkable ideas--mental flotsam and jetsam--as part of the process of finding something worth developing. I made a piece of visual art that now hangs in the studio as a reminder. A few years ago, I found a box of music manuscripts that contained hundreds of my sketches that went nowhere. I decided to turn some of them into a collage of torn scraps, pasted over an image of the Buddha. Only one eye of the Budda, a bit of his head and a piece of his mouth poke through. Each musical fragment is outlined with a gold kintsugi border, reminding me that even what is broken, incomplete or faulty has its own purpose, and even a kind of beauty. The little bits of Buddha that show through remind me that there is "Buddha nature" even in what is rejected. I try to see my life in the same way, collaging my unhappy choices, failures and regrets on the canvas of memory, and forging them together with a golden seam. Our missteps and sufferings, as well as our successes, are part of the larger and richer human experience that add up to a complete life. As a composer, all feelings are to be honored and welcomed. Rumi says:
This being human is a guest house.
Every morning a new arrival.
A joy, a depression, a meanness,
some momentary awareness comes
as an unexpected visitor.
Welcome and entertain them all!
Even if they’re a crowd of sorrows,
who violently sweep your house
empty of its furniture,
still, treat each guest honorably.
He may be clearing you out
for some new delight.
For deeper inspiration, Allen reconnected with the ancient Greek philosophers who he was first enraptured with in his twenties. He found music in Plato’s inquiries; he saw in philosophical paradoxes the push-and-pull of musical counterpoint, the tension and release of dissonance and resolution. On GNOSIS (γνῶσις), Chronotope Project uses his signature jazz and classical-inflected progressive ambient sound to portray the greatest philosophical inquiry of all: a quest for knowledge.
This quest is painted with a wide array of styles: deep drones and ambient textures, classical counterpoint and driving polyrhythms, atonal sound painting and unabashed romanticism. The diverse sounds here are anchored by the flute-like timbre of the Haken Continuum Fingerboard synthesizer, which appears throughout as the knowledge-seeking protagonist. These richly-layered soundscapes evoke the majesty of myth, from the cosmic arpeggios of “Higgs Field, Cauldron of Being” to the intimate pastoral of “The Still Small Voice.”
Allen’s skill as a sonic storyteller is on full display in every aspect of Gnosis. “Lethe, the River of Forgetfulness,” finds the seeker drifting down one of the five rivers of Hades. Souls drink from Lethe to let go of their mortal memories before continuing their journey. A cello bassline embodies Lethe’s current, pulling the seeker further and further; a subtle Rhodes piano entwines with the Haken Continuum as the seeker’s memories drift away into the water. Then, on “Eidos, Realm of the Forms,” the seeker arrives at the Eternal Forms, which possess the structure needed to understand the world’s true nature. The seeker’s questions spiral through the hypnotic rhythm of the Forms, built from warm textures and hand percussion. In the album closer, the eerie and harrowing “Myth of the Cave,” the seeker vanishes, overwhelmed by the truth of the absolute—before, knowledge achieved, a twirling harp ushers in an ascendant finale.
"Gnosis" is one of many Greek words for knowledge, referring to knowledge gained through experience. The breadth of this album reflects this: GNOSIS (γνῶσις) traverses the ominous and serene, the harmonic and the dissonant to render the accords and contradictions of philosophy in Chronotope Project’s signature cinematic sound.
Jeffrey Ericson Allen is credited with all compositions, performances, recording and mixing; the album was mastered by Howard Givens, and midwifed by Deborah Martin. GNOSIS (γνῶσις) is available for physical purchase in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats. The CD version of GNOSIS (γνῶσις) arrives in a gift-worthy factory sealed 6-panel gatefold package that includes vibrant artwork, liner notes, a 6-page booklet, and artful package design by Daniel Pipitone.
Media may request artist interviews, media review copies, and additional artwork from Beth Ann Hilton (beth@spottedpeccary.com) at Spotted Peccary Music.
Tracklist:
1 Higgs Field: Cauldron of Being
2 Lethe, the River of Forgetfulness
3 Eidos, Realm of the Forms
4 The Still Small Voice: The Muse Speaks
5 Entelechy, Emergent Order
6 Myth of the Cave
About Chronotope Project:
Jeffrey Ericson Allen is an Oregonian composer, cellist and electronic music recording artist with an extensive and eclectic background in classical, new acoustic and theatrical music production. Chronotope Project represents his most recent expression as a creator of contemporary progressive ambient music. “Chronotope” refers to the essential unity of space and time, a concept with numerous expressions in literature, physics and the arts. The music of Chronotope Project explores this time-space confluence and invites the listener on ambient journeys of deep texture infused with gentle pulsing rhythms and soulful melodies. https://chronotope-project.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 at www.SpottedPeccary.com and www.AmbientElectronic.com.
Links:
Smart link: https://orcd.co/gnosis
Album Overview and links: https://spottedpeccary.com/shop/gnosis/
Unboxing video: https://www.youtube.com/watch?v=YBUlACfDHYc
bandcamp: https://ambientelectronic.bandcamp.com/
Instagram: https://www.instagram.com/spottedpeccary/
Facebook: https://www.facebook.com/spottedpeccary
Spotify: https://open.spotify.com/album/1b5OZ08E4AAtPlYcGkFhf6?si=XT7S5fOiQjqzD1oUJ7TrHw&dl_branch=1
Listen to "Hazelwood Moon" here:
https://open.spotify.com/album/1VuYP2YlnoJQI06LUmxRSm?si=TRMAURCYSFOny3gvJgBTpA&dl_branch=1
Watch the video here:
https://www.youtube.com/watch?v=Bfx3_Do8bQk
Christine of Star Goes Nova shares:
"In a far flung, musical galaxy where Classical and Electronica drift through alien ruins under diamond skies, "Hazelwood Moon" is an interstellar Neoclassical Electronica Epic. “Hazelwood Moon’s” regolith is an eerie soundscape crafted on a foundation of growling, dubstep bass that soars with classical orchestral instrumentation. Featuring Christine’s 115 year old piano made by Valentin Berdux (who apprenticed at Pleyel - Chopin’s favorite piano) ”Hazelwood Moon” is a hypnotic and other-worldly inspired musical experience. Making a guest appearance on vocals is psychobilly band Hardsix singer Fuse, who often performs in Las Vegas. Fuse brings an Elvis-like croon into “Hazelwood Moon” - a wistful musical tale of lost loves. The exotic juxtaposition of Las Vegas croon, a Chopin influenced melody and growling dubstep rhythm blurs the lines of past and present into a wistful, dreamy trance."
Magical forces are transforming me and as Star Goes Nova, I have become a music composer, sound engineer, producer, multi-instrumentalist and performer on the Southern California scene. My inspirations are Seven Lions, Leah, Leo Z, Pink Floyd and Illenium. Star Goes Nova is the fantasy come true of my technical imagination, hardcore rock band, EDM festival and high school orchestra experiences.
Connect with Star Goes Nova via:
http://www.stargoesnova.com/
https://www.youtube.com/watch?v=Bfx3_Do8bQk
https://open.spotify.com/artist/1NEdPTJuCbA5O0t1s1daLO
https://twitter.com/stargoesnova
https://www.instagram.com/star.goes.nova/
https://www.facebook.com/Stargoesnova
https://soundcloud.com/user-435294988
Johnson's lyrics “I put myself in the chorus, I write our love in a hymn…” compares love to a song and it is simple and beautifully written. This solo written by Johnson has a slow dance rhythm that will make you stop what you’re doing and listen intently to the lyrics being angelically sung. The guitar is what elevates the entirety of the song as it enhances the lyrics and allows the listener to hear what is being sung without it being overshadowed by a big production. The heart wrenching chorus will melt your heart with every word that he sings: "Maybe by the last refrain or when my song is though, you will know that I am me, all because of you..”
This Midwest Iowa boy co-founded the a cappella group Tonic Sol-Fa and toured and recorded with the ensemble that was voted into the Midwest Music Hall of Fame earning a 2010 Emmy Award for their song showcased in a Toys for Tots PSA. Settling in Sioux Falls, South Dakota. We are excited for more must from the Shaun Johnson Big Band Experience, especially if it puts a smile in your heart like “All Because of You”
Listen to "All Because of You" here:
https://open.spotify.com/album/0P3E7rdJdhz5UO4NSGZaq1
You can connect with Shaun Johnson and the Big Band Experience via:
www.shaunjohnsonmusic.com
www.instagram.com/shaunjohnsonmusic
www.facebook.com/shaunjohnsonmusic
https://soundcloud.com/shaunjohnsonmusic
https://open.spotify.com/artist/62YKJH4aLjmKpJ58ChZMNw?si=NKf_EaMiSrOgvPJCrETFLg&dl_branch=1
Perla was Inspired to “Turn my unthinkable tragic circumstances into a marriage between London Grammar's eerie echoes and Eric Clapton's warmth in ‘Tears in Heaven.’ This song was conceived whilst I was channeling the tsunami and the unheard voice of the mother within me. The thoughts flowed as I was curled up in the fetal position, hurting, healing, and becoming empowered all at the same time.”
Listen to “Twilight Sleep" on Soundcloud:
https://soundcloud.com/admin-team-889522592/twilight-sleep/s-DBeszlxZf4R
or Spotify:
https://open.spotify.com/artist/3IbTkhZrHBtY8amPNPAkN2?si=_B2FrxgRRc2_k4mwXrFtAQ&dl_branch=1
Perla Nalu is currently collaborating with indie artists to develop the soundtrack for her book based on a true story. Her music embraces her vulnerabilities and speaks to gratitude, free-lovism, loss, and intuition.
For each track she chose the vocalist that most resonated with the protagonist at key moments in the story. The soundtrack is influenced by pop, soft rock and indie vibes layered with cinematic and orchestral elements.
Perla invites you to join her musical journey and find out what plans the cosmic clock had for her.
You can connect with Perla Nalu via:
https://perlanalu.com/
https://www.instagram.com/perla_nalu/
https://www.facebook.com/Perla-Nalu-111833854485934
https://soundcloud.com/admin-team-889522592
Mahoney says the inspiration came from talking and listening to women… “I find that it is common to experience discontent with our bodies...The onslaught of images we see in the media can cause us to feel like we somehow got the raw end of the deal with the body we ended up with. In the past year or so, I have been realizing what an amazing gift my body is. I have started referring to “her’ instead of “it.” I have begun to intentionally listen to what she has to say. From simple things like being thirsty or cold to actually feeling my feelings in my body. I have practiced staring in the mirror and smiling at her. It sounds strange, but I found it hard at first. Radically accepting my body as she is has changed things for me. I wanted to capture the freedom and delight this new way of thinking has brought to me in a song, and “She” was born.”
We are so glad that her return from hiatus has brought this song into our lives. The poetic majesty of the song speaks volumes to a society broken and in need of love. This song comes along at just that right time. We look forward to hearing more from this iconic talent.
Listen to "She" here:
“She”https://soundcloud.com/teressa-mahoney/she-9-17/s-ZcoIxKrq1bY?in=teressa-mahoney/sets/disorder-reorder/s-pfnHG%20https://soundcloud.com/teressa-mahoney/sets/disorder-reorder/s-pfnHG
You can connect with Teressa via:
https://teressamahoney.com/home
https://www.instagram.com/teressa_mahoney/
https://www.facebook.com/teressamahoneymusic
https://twitter.com/teressamahoney
https://www.youtube.com/channel/UCvD1M4tdoAvcE28Mdy1HQCw
https://soundcloud.com/teressa-mahoney
https://open.spotify.com/artist/1a7Wl5gSPxidbPSb7OndaZ
Solo is an LA based artist who wants to “bring joy and healing to others through my singing” and feels it is her “responsibility on this planet.” Her style is that of modern, cinematic sensibility with the power of classical music and the excitement and accessibility of pop.
Solo hails from Little Rock, Arkansas and has been inspired in her career by such acts as Celine Dion and Michael Bolton. She accidentally discovered her wide vocal range in college where she formally studied Vocal Performance and Opera at the University of Colorado, Boulder, and with La Musica Lirica in Novafeltria, Italy.
Joining the Imperativa Records family, Solo plans on continuing to wow audiences with authentic opera, while still touching hearts with jaw dropping pop favorites. Solo will release two songs through Imperativa, the romantic pop collection Love Reimagined, and a contemporary Christmas EP. She is excited to continue to explore the world of songwriting and expand her creative abilities to create a new album this coming year and we are excited to hear more from this powerhouse singer as well!
You can watch her live performance at the EastWest Studio in Los Angeles here: https://youtu.be/IuywhzUAod4
You can connect with and find Linsday via:
https://www.imperativarecords.com/artists/lindsay-solo/
https://www.facebook.com/lindsaysoloartist
https://www.instagram.com/lindsaysolo/
https://www.youtube.com/lindsaysolo
https://open.spotify.com/album/2iONzPKETNTOpAQjKobLn9?si=5rc5qWoIRaK4pY0zb-C9yQ&dl_branch=1
As the Summer streams on into August, I find myself with two tracks in the Ethnocloud Charts. An Olympian For Eternity has had renewed success with the 2020 Olympic Games in progress. https://ethnocloud.com/Billy_Tav/?song=12316&b=11667
Oh So Mellow (What A Good Day) continues to receive rave reviews from the music connoisseurs who have kindly taken time to listen and comment.
https://youtu.be/XzHUZ78Sa8o
All in all it is good to hear great appraisals of your work.
To get it out there for the masses to hear though, takes a lot of hard work dedication and financial investment.
I have new music mastered and ready for release, with great appeal. Finding the right time and media to introduce it to a wider audience of listeners however, is the key. Making music and breaking it into the marketplace is hard to do.
I'll keep on trying, encouraged by all the positive feedback!
https://www.youtube.com/watch?v=1I7wbEFPCmc
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