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George Collins\' Debut EP Showcases His Artistic Talents George Collins, a former professional musician, steps forward with his debut EP, 'It's Been a Long Time,' a 5-song collection of narrative storytelling and catchy pop rock hooks.

“I don’t want to go to my grave with my stories and songs still inside me,” he says. “I can always make more money, but I can never make more time.”

His sound is a beautiful blend of influences like The Beatles, Tom Petty, and Wilco. There's even a hint of the Dave Matthews band within some of his songs. His songs feature instantly hummable melodies; subtle but smart counterpoint; clever chord sequences; ace musicianship; and vocals that ooze soulful rock n’ roll longing.

As a lyricist, Collins is a poet, a sage, a storyteller, and an empath. He covers the full-spectrum of emotions and the human experience, and he writes with cinematic detail, visceral vulnerability, and clever turns of phrase. Most of the songs on 'It's Been a Long Time' are about love in some way. The title song, the bluesy lament "It's Been a Long Time," and the modern pop rock "Next Time," are songs about lost love. The pop rock anthem "Down Easy" is a tale of a stolen moment of ill-fated barroom passion and "Easy To Fall" is about the ease of falling in love and the difficulty to losing it.

The game-changing song is "Toward the Light," a jazzy song that George originally wrote in his college days a long time ago. It showcases a very evolved outlook. George realized that with this youthful song he had not only reached deep into his soul but also charted the course for the rest of his life – the lyrics he had penned as a student finally made sense to him in late middle-age.

Listen to 'It's Been a Long Time':

Fernandito Rentas presenta nuevo corte musical \ Fernandito Rentas acaba de lanzar al mercado su reciente número musical que lleva por nombre "Tacos de Seis". Una canción con excelentes arreglos musicales que traen consigo un ritmo pegajoso, para el deleite de todo el público salsero.

"Tacos de Seis" es un homenaje al fallecido Compositor, Músico, Compatriota y Hermano-N-Armas Puertorriqueño Ángel Junior Santos (USA-Ret.-RIP), quien a lo largo de su carrera compuso canciones para diversas agrupaciones, entre ellas: "Don Perignon & La Puertorriqueña", "Pete Perignon", "Orquesta El Cimarrón", entre otros.

Por otro lado, los arreglos musicales y la producción del videoclip fueron realizados por el Maestro Robert Requena y su equipo de producción en Medellín, Colombia. Además, dicho tema fue dedicado con mucho cariño por parte de Ángel Santos a la Sucursal del Cielo, Cali-Colombia y su bella gente.

Fernandito Rentas sigue dando de qué hablar con su buena música y en la actualidad ha logrado captar la atención del público en el mercado latinoamericano.

"Tacos de Seis" ya se encuentra disponible en todas las plataformas digitales y el videoclip se puede apreciar a través del siguiente enlace:
Lenni Revel\'s \ Lenni Revel is the Sonoma County, California-based artist gearing up for the release of her deeply cathartic EP, 'Unbroken.' The EP not only represents a rebirth and reclamation for Lenni from the clutches of mental health struggles, drugs, and the grinding machinery of the music business, but also a love story between Lenni and her husband, Robert Revel, an entrepreneur, and published author who wrote and co-wrote much of the album.

She just released the 3rd single from the EP, "Till Only Love Remains." This sultry and dramatic piano ballad was written by Robert when he was living alone in an off-grid home he built in the Rocky Mountains. The time in his life was marked by deep self-introspection, and "Till Only Love Remains" was born from a "get honest" place.

The song is achingly beautiful, delicately framing Lenni's smoky vocals with sorrowful strings and low-in-the-mix ethereal touches. She sings "Who reveals the savior/When he preaches the lie? / And who confronts the believer / When they’re afraid to die? / Found by the light / In the dead of the night, it’s a dream / Held by the love / That flows from above like a stream / Nothing left till only love remains."

The lyrics reveal the self-delusion we all eventually face, dismissing and denying all that is true within ourselves while clinging desperately to lies. Into this delirium comes a revelatory chorus blasting redemption onto the spiritual landscape until there is “….nothing left, till only love remains.”

Listen here:

Watch here:

Connect with Lenni
Imagine, if you will, that we are more than we think. More even than the universe itself, because the universe is only one expression of the fundamental, grounding, metahuman source that emanates, nurtures, and transcends us all. This is an idea from Deepak Chopra, who suggests there are secrets and techniques to moving beyond our present limitations. Some might disagree with Chopra. Perhaps he offends many traditionalists, both Eastern and Western, with his blending of common-sense wellness, medical intuition and Ayurvedic therapies.

Waking up, we learn, isn’t just about mindfulness or meditation. By going beyond, we can liberate ourselves from the conditioning and constructs that underlie anxiety, tension, and ego-driven demands. Waking up allows life to make sense as never before. To make this as practical as possible, Chopra rounds out the book with a 31-day guide to becoming Metahuman. Once you wake up, he writes, your life becomes transformed, because pure consciousness—which is the field of all possibilities-- then dawns in your life. Only then does your infinite potential become your personal reality.

Chopra unlocks the secrets to moving beyond our present limitations to access a field of infinite possibilities. It means to move past the limitations constructed by the mind and to enter a new state of awareness in which we have deliberate and concrete access to peak experiences that can transform people’s lives from the inside out.

Sverre Knut Johansen has taken on many fantastic themes and notions with his electronic music, such as interstellar travel, secret extraterrestrial technologies, terrestrial time and natural history, evolution itself, dreaming, and with his newest album, Metahuman, he embraces Enlightenment, Awakening, and the Great Liberation, with music to inspire a new spiritual perspective on our life in the Universe with the infinite potential to remove the limiting belief systems and negativity of our personal reality, all in a musical form that brings light to the world.

Deepak Chopra is an Indian-American author and alternative medicine advocate. He has likened the universe to a "reality sandwich" which has three layers: the "material" world, a "quantum" zone of matter and energy, and a "virtual" zone outside of time and space, which is the domain of God, and from which God can direct the other layers. Chopra has frequently said that "aging is simply learned behavior" that can be slowed or prevented. Some of his ideas have caused various medical and scientific professionals to label his work as pseudoscience. Great changes are preceded by chaos, to move past the limitations constructed by the mind.

To become a Metahuman we must unlock our full potential through meditation and open up our creativity, our insight, our imagination, our compassion, our truth, our love, our empathy, our desire for goodness, beauty and harmony. Chopra studied medicine in India before emigrating in 1970 to the United States, where he completed a residency in internal medicine and a fellowship in endocrinology. As a licensed physician, by 1980 he became chief of staff at the New England Memorial Hospital (NEMH). In 1985, he met Maharishi Mahesh Yogi and became involved in the Transcendental Meditation movement and eventually resigned from NEMH to pursue a new vision of healing, eventually establishing such enterprises as the Maharishi Ayurveda Health Center, the Chopra Center for Wellbeing, the Mind-Body Medical Group, the Chopra Foundation, and the American Association for Ayurvedic Medicine.

Chopra has also been described as America's most prominent spokesman for Ayurveda. Ayurveda therapies include herbal medicines, yoga, massage, laxatives, special diets, meditation, enemas, and medical oils. Historical evidence for Ayurvedic texts, terminology and concepts appears from the middle of the first millennium BCE onwards, the main classical Ayurveda texts begin with accounts of the transmission of medical knowledge from the gods to sages, and then to human physicians.

In Ayurvedic texts, balance is emphasized, suppressing natural urges is considered unhealthy and claimed to lead to illness. Ayurvedic practitioners regard physical existence, mental existence, and personality each as their own unique units, with each element being able to influence the others. The political debate about the place of Ayurveda in contemporary India has continued to the present, Ayurveda is heavily practiced in India and Nepal, where perhaps around 80% of the population report using it.

I am not about to further summarize such a complexity, let us immediately turn to focus on the music. What I hear is a full electronic symphony, often with a space-rock form of higher consciousness guiding the way, in places light and sparkly, and in other places much more complex, deep and rich with textures, pulses and powerful melodic wonder. Sverre Knut Johansen mostly plays Sequential Prophet X and Pro 3, opening a portal to deep inner space, employing other instruments as noted in the track details. On three tracks Ståle Storløkken plays Haken Audio Continiuum. This album was mastered by the legendary Howard Givens at Spotted Peccary Studios NW in Portland, Oregon.

From the void comes form, in the shape of a new friend, who has been traveling for years collecting adventures and stories, and at last has arrived. From the form comes motion and dance, “METAHUMAN” (3:37) establishes the groove, a sense of wonderment is invoked, hypnotized by the brilliance of that pulsing core of light, swirling bright gas around the starlike, throbbing core. Storløkken plays Haken Audio Continuum on this track, reflecting the cosmos, including orderliness, balance, harmony, logic, and abstract beauty.

Darker themes emerge on the second track, building into a separate solid form, the power of energy, with cogent strings stretched under a brazen sky, beneath a stupendous Sun. There is a mild rumbling and tumbling off in deep space, some spooky distant synthesizers echoing and swirling in blackness. This is the prodigal otherworldly rover, feeling the kinetic power of the pulse, molding the universe’s chaos, arrayed with the intoxicating colors of coursing energy. This is the longest track, it builds to a powerful beat, the strings take over, and ultimately fades into mist in the end. Do we live in a mind-made fiction? The best use of imagination is creativity. The worst use of imagination is anxiety. “HUMAN (Path Of Destruction)” (10:34), the word destruction is probably more of a daredevil prophesy than a description of the sound. The musical feeling is positive and provides a strong uplifting groove, surely destruction would not have such honest beauty. This concept is different, perhaps the myth of the human as a machine is harmful. To free yourself, Chopra suggests that you open your mind, soul, and body, always to find that consciousness is the sole creator of self, mind, brain, body and the universe. Dig it.

Storløkken plays Haken Audio Continuum on the third track, “Unity Of Existence Through Evolution” (8:48), which is contemplative and gentle, the space rock beat operates within a slow inquisitive mood with changing elements. Lift up your eyes to the sky, on towards unknown worlds of distant stars beyond the wide, uncharted reaches of deep space, into the vastness of space-time, with its myriad stars and planets, the ceaseless drama of life. We are the authors of space-time, we must embrace our true role. The story never begins or ends – it merely ‘becomes,’ and you already possess this ultimate potential. Maybe.

The strength builds and broadens into a wide atmospheric dancing ground, a form that brings light to the world, wide circles, graceful glides, a solid neo-rock beat sustains, the pulse is strong, and rising. You might want to find your sturdy cosmic dancing shoes, much territory is spanned and then floats upwards, to fade into a pleasant extended psychedelic darkness. “Immortal” (5:44) allows life to make sense as never before, life becomes transformed as you explore the infinite potential, the miracle of our very existence. Chopra claims that one may attain "perfect health," free from disease and never age or die. He suggests that human aging is fluid and changeable, it can speed up, slow down, stop for a time, and even reverse itself, yielding indestructible new dimensions of stress-free living and joyful living, positioning building blocks taking you stepping on a journey through this current Fairy Tale we call life, babe.

Sweet slow rising layers build into a powerful pulse with sparkles, then glides upwards, into “META (The Light Inside You)” (6:24). This touches on the forever spirit once again, consistent and nourishing as it wings upwards, repeating circles of light, perhaps an m'bira-core orbit, you might move past the limitation constructed by the mind to encounter a faint-glowing mass of vapor with a brighter core. Along with his collection of synths, electronic percussion, electric guitars, and sound design software, weaving melody, rhythm, and texture into a captivating musical tapestry that constantly evolves, revealing secret treasures from a distant place and bringing light to the world, Johansen plays the Haken ContinuuMini on this track. There is a hidden meaning behind all events, and this hidden meaning, an ancient philosophy Chopra calls The Direct Path, is hopefully serving your own evolution.

Now we are all dancing slowly. “METAHUMAN (Extended)” (9:51) expands the theme, allowing for a new message, explanation, and exploration. Only by going beyond everyday life can we change what it means to be human today. The destination is probably a little bit different because there is more time to establish the image or formation.

The universe has deep resources, a finger of light into the sky, amid wisps of smoke, clouds of silver, places of secrets, elegant and with wisdom hidden in it. There might be a science of dreaming, consciousness is much more than pure abstract reason, crossing the ancient chasm, cautiously emerging into percussive motion and pulse, a dance into the fullness of time and what lies hidden. Journey through echoes to find the sense of awe that astronomers might experience when observing outer space through telescopes, a mind-expanding view into our inner space. In fact it’s thousands of years old; and Storløkken plays the Haken Audio Continuum.

“Fluctuations Of Awareness” (7:55) is slow and thick in places, with textures and surprises that drift and fade in an atmosphere of gradual metamorphosis, I might somehow sense alternate bands of red, blue, yellow, and white strata, a fraction of light, not the violet glimmer which had illuminated the underground ways, but a ghostly radiance. Logistical obstacles are opportunities in disguise. Such openings allow for rhythm and pulses to lead the way up into the vast beyondscape. When you make a choice, you change the future. Sometimes I feel almost like I am looking into a star, looking into the glowing, pulsing core, seeing spatial starlight unfiltered by any atmosphere; and Johansen plays the Haken ContinuuMini on this track.

As we ponder a mind-expanding view into our inner sonic light show, we might veer into a tunnel, the corner turning into a night sky that goes forever, “Miracle Of Existence” (7:34) creates a new paradigm of health for humanity, essential positivity. Gradual deepening and layering, sustaining a slow exploration that is darker in places, always keeping a consistent pulse and life force, this is an inward spin. Imagine wind that sounds a bit like fields of dry whistles and synthesizers, developing into a beat that could be like a heartbeat, and it just keeps going and changing, sometimes a prisoner of the past, otherwise a pioneer of the future, our non-physical experience is a paradoxical journey beyond the physical and the deeply hidden.

On the final track, the always amazing David Helpling activates his electric guitar, synthesizers, and piano, while Johansen plays Steinberger bass guitar in addition to his basic studio wizardly contributions. “Infinity Being” (6:13) brings a haunting melodic atmosphere, full of subtle vistas, a cycling melody that returns to our dream castle. This is where the limitless lingers. The vastness of space-time sings, with its myriad stars and planets moving beyond our present limitations of the mind to access a field of infinite possibilities. We are more than we think.

Sverre Knut Johansen (pronounced Svá-da Ka-núte Yo-hán-sen) hails from Mo i Rana, a lesser-known town in the northern-central Helgeland region of Norway, just below the arctic circle. He has composed electronic works since the early 1990s, developing a strong signature style through the use of melody and forms often thought of as classically-influenced, electronic symphonic compositions. He has previously released material on Origo Sound and his own Origin Music, and has collaborated with artists including Erik Wøllo, David Helpling, and Robert Rich.

This is Johansen’s sixth release on the Spotted Peccary Music Label. His earlier releases are DREAMS BEYOND (SPM-3005), PRECAMBRIAN (SPM-3004), THE VAST EXPANSE (SPM-3003), SECRET SPACE PROGRAM (SPM-3002), and EARTH FROM ABOVE (SPM-3001)

METAHUMAN was mastered by Howard Givens at Spotted Peccary Studios NW. It is available as a physical CD artfully designed by Spotted Peccary’s creative guru, Daniel Pipitone, as well as in digital download format (MP3 (320KBPS), 16-bit CD quality, or 24-bit studio master), and across all streaming platforms. Buy/Stream METAHUMAN: or

Producer, Songwriter, and DJ Kris \ Kris "Halo" Pierce is the genre defying electronic music producer, songwriter, and DJ based out of New York City. He's reached soaring heights in his musical career of over 20 years, including placements with Interscope Records, Viacom Media Networks, Sony Creative, What’s In-Store Music, Cleopatra Records, and Conzoom Records; among others, as a producer.

He recently released his second solo album called 'Artificial Breed,' an avante pop, electronic, and synth collection of 11 songs. The name of the album speaks to the melding of synthetic with organic musicality before even listening, giving you an expectation of mostly electronic sounds.

'Artificial Breed' is a collaboration between Kris and ex-Front Line Assembly drummer Jason Bazinet. As the story goes, Jason heard “Midnight Dive” and was moved to email Kris, offering seedling music ideas for a future project. Kris sifted through 300 of Jason’s demos, and cherry-picked 10 tracks. He fleshed out these core ideas with orchestration and lush production, and they now live on Artificial Breed.

Listen to 'Artificial Breed' here:

Connect with Kris "Halo" Pierce
\ Americana singer-songwriter Vince Vanguard has always loved music, in fact, his given name is Eric Plein, named after Eric Clapton. His father took him to his first blues concert for BB King. “Blues music’s idea of the struggle of the spirit, and letting those feelings out always resonated with me,” he says.

He has always wanted to release his own solo album, but never focused on himself and focused on others music as he owned his own recording studio and production company. Only after his career took a hit due to his overindulgence did he finally take the leap and create his own record, 'Spirit Blues,' to be released later this year.

He just released his 3rd single from 'Spirit Blues' called "Broken Bones." It's an anthem-like roots rock and blues rock song that has a Jackson Browne familiarity in both his voice and sound. The song grapples with the feeling of hopelessness in himself and society as a whole, while also acknowledging resilience. He sings with purpose in lyrics like "Left to die on the side of the road/Nothing left to show/But these broken bones and busted soles/I didn’t see you coming/I didn’t hear you calling/And I fade."

"Broken Bones" features an all-star cast of Colorado based musicians, including Adam Deitch (Lettuce, Break Science, John Scofield), Garret Sayers (The Motet), Marcus Rezak (Shred Is Dead, Digital Tape Machine) and Bill McKay (formerly of Leftover Salmon, Derek Trucks Band).

Listen here:
Ámaris Releases \ Ámaris Wen, artistically known simply as Ámaris, is the London-based recording artist, music producer, actor, and songwriter. Her most recent single “Been Doing This” is a definite ear worm and when asked about her song, Amaris says, “The message of the track is ‘We’ve been doing this for too long’ and is about moving on, and that sometimes you have to let things go and try something new.” “Been Doing This” is her most recent release about not giving up, even if you want to.

Writing under the name A. W. Emersleben, she released her album “Dream World” in 2020, the title track becoming her most successful release to date receiving 100k streams on Spotify alone.

Ámaris received her formal training at drama school in Zurich, with Isabel Kempinski in Voice, and later at the Stage & Musical School in Frankfurt, Germany, where she started to listen to electronic music for her dance studies, which made her discover the genre for herself. Being new to subjects such as Ballet, Jazz Dance, and Modern Dance, Ámaris needed to train in the evenings in her free time to achieve the levels of the other students. She found that her new-found passion for electronic music helped and then started the dance floor project “Geiko– female electronic dance music”

After returning from Germany to Zurich to complete a degree in Business Law, she was able to work as a playlist manager for Sony Music. She later moved to London where she started working on her first more R&B and synthpop-influenced album “Neon Colours”, which was well-received by critics.

As one of few female music producers, Ámaris’ skills in combining genres such as electronica, R&B, and pop have defined her music as being genre-defying. She is very vocal on the protection of the oceans and is an ambassador for the non-profit organization Big Blue Ocean Clean-up, which works on reducing plastic waste in the oceans. Her fantasy story “Lagoona: A Journey through the Reef,” published in 2022, raises awareness for the disappearing coral reefs and ocean pollution.

As an actress, she will appear in a production of the play “Last of the Red Hot Lovers” this year, in which she will play the character of “Elaine”.

Ámaris is currently working on a music documentary ‘On Tape’, in which female and non-binary music producers will answer questions about their work. 10 questions, 10 music producers, no wrong answers! The short form documentary is a collaboration with L.A.-based Maria Corso of female- owned production company Two Foot Five Productions.

Listen to "Been Doing This":
Slim Sly Slender\'s \ With experience as a career visual artist, singer-songwriter Slim Sly Slender sets himself apart from the rest! During a jam session in a warehouse, Slim had his musical awakening 10 years ago. It was that moment when the Baltimore, Maryland-based artist decided to take a giant leap into a new career. Now, Slim Sly Slender is gearing up to release his sixth album in eight years called Pay to Play. In the tracks on his new album, Slim explores the genres of his influences while adding his own flair to create a cohesive aesthetic. Listeners will hear just that with his three singles released from Pay to Play, titled “War Paint,” “The One That Didn’t Walk Away," and his most recent release “Black Charger.”

“Black Charger” was inspired by Slim’s commute to Washington, DC. “Having lived in the Baltimore/Washington area for many years this is something that I have learned to avoid if possible. It’s pretty crowded at the best of times and kind of a madhouse of the driving world at others” Slim explains. “I try to stay relaxed and on point in this driving environment and started to notice that when traffic got chaotic there was often an aggressive driver in a Black Dodge Charger involved.”

“Black Charger” mixes roots rock with indie pop and hip-hop, like a Beastie Boys meets John Lennon meets Steve Earle. The saxophone riffs in the track are bound to get stuck in any listener's ear. The verses break down to soft drums, rhythmic acoustic guitar, and a bouncing bass line to let Slim’s lyrics stand out. The organ pays homage to 60’s-70’s rock/roots rock music. “Black Charger” has a jam band vibe, that will have you making the “stank face” when listening. Listen to “Black Charger” on all music streaming platforms, and make sure to follow Slim on all socials to not miss any updates!

Listen here:
The Hills Listening to Kate Bush Running Up That Hill and her huge Chart Success again so many years later only inspires you to keep progressing what you do. The last couple of years have been tough. Family is everything. The trials of looking after a loved one through a debilitating illness overshadows everything else. Strangely the tough times inspire the creation of new lyrics which eventually become great songs. I have always been the eternal optimist and following The Wedding of my beloved Eldest Daughter in Ibiza and a find my self again break in my beloved Wicklow Hills I am going once more back to the art that never leaves me and always draws me back.
I hope everyone enjoys the new music I am releasing now and next month. Life needs more smiling faces.
2022 BU Global Music Festival The 2022 BU Global Music Festival will be held outdoors on Saturday, September 17th from Noon to 9:30 pm on the Boston University Charles River Campus - 270 Bay State Road, Boston, MA 02215.

The BU Global Music Festival is a free, family-friendly event at Boston University. This year’s festival line-up includes some high-energy powerhouses that will throw down a party: Mexican marimba-punk band Son Rompe Pera (Boston debut) to Malawian street musician duo Madalitso (Boston debut) playing home-made instruments; and the three-time winner of the second largest carnival in Latin America Bazurto All Stars (Boston debut), a serious powerhouse party band hailing from Colombia. Then, on the other end of the spectrum, we have a few who are exploring their folkloric and traditional sounds: Indonesian percussion/dance troupe Saung Budaya; Yamma Ensemble (Boston debut) that weaves together musical styles from Jewish diasporas across the Mediterranean and the Middle East; and Kingfisher Singers and Dancers, who will be representing the Indigenous Wampanoag voices from our very own region. Somewhere in the middle are the quirky trad-electro-pop duo Puluup (Boston debut) from Estonia and the Ethiopian trad-experimental quintet Qwanqwa (Boston debut), both of whom manage to combine vernacular styles with experimental modern sounds to generate their own unique sounds. (Photo: Bazurto All Stars)
The Southwest region of North America is full of breathtaking scenery, barren rocks juxtaposed in desert wilderness, great-walled stone canyons, blending cowboy influences with Mexican and Spanish traditions. Renowned pianist/composer Elizabeth Naccarato’s A Southwest Story draws you into this scenic world with her consistently calm, sensitive and well-arranged album of instrumental music with a bright Southwestern flavor. Each composition is a concentrated gem on a topic related to the broad area known as the Southwest.

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

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

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

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

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

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

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

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

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

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

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

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

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

The single “Dusk”

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

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

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

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

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

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

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

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

Music fans can link to buy or stream A Southwest Story from their favorite platform here:

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

Chris Baluyut\'s New Single \ New York City’s own Chris Baluyut has been surrounded by music since birth. His father, uncle, and godmother are in a band called Versus, and another of his uncles started the indie-rock/math-rock band {Plus/Minus}. “They were hip,” Chris says. “My parents had me when they were young. I remember the three B’s, Björk, Beck, and Built to Spill being played all the time in my house growing up.” From elementary school through high school, family members would bring Chris to gigs all around NYC. At 14, inspired by the classic rock and indie rock playing in his house, Chris started playing guitar, and eventually played a show with Versus when he was still in high school.

It’s no wonder that Chris has taken up music. While he never made music his sole focus, he did sing and play music in college. However, his backpacking trip through Europe and living in Tokyo is what made him realize his talent and he started to take his music more seriously. After living there for 5 years, he’s ready to make roots in New York City and is ready to release new music, the first time since 2018.

His new single, “Winter, Wait,” is a dreamy electro-pop song that emulates a simultaneous feeling of heaviness and lightness. It has a presence that's hard to explain in words, but ultimately it's about the highs and lows of life. The music really explores that theme with sections that feel more upbeat than others. It’s part of a series of singles, the third and final that showcases his expanding skill set beyond folk and folktronica with textured synths, layered ambience, vocal effects, and harmonies.

"'Winter, Wait' is about managing the passage of time through both the high points and low points of my life," shares Chris. "The exhilarating, joyous, and love-filled moments of my life feel so fleeting and seem to pass in an instant, while the somber, dark, low points feel like they linger and last forever. This song is about doing my best to stay present and appreciate those peaks when they come, as well as waiting out the storm through hard times and knowing that ultimately, those will pass too."

Listen here:
!! NEW MUSIC from TapRoots !! Hey there TapRoots fans,

We have just released our first new music in over 3 years. TapRoots has been busy over the pandemic writing a new album, and the first track, Song for the Ocean, has finally been released. Check it out and let us know what you think!

It is a song dedicated to the yoruba orisha of the Sea, Yemaya. Come join in celebrating this new Summer track from TapRoots!
Gedalya explores unity in newest release The Folk-Rock Rabbi’s latest release, ‘Needle and Thread’ aims to connect people with different backgrounds by recognizing their similarities

NEW YORK (July 10, 2022) — Gedalya, the New York based musician known for his infectious melodies and positive, lyrics is pleased to announce the release of his latest single Needle and Thread.

The song explores the connection between all people and how understanding can bring unity to those that otherwise would face conflict.

“Underneath our different exteriors, we are all connected spiritually,” Gedalya said. “Needle and Thread challenges my listeners to see past what is driving them individually and recognize the similarities that bring us together.”

“Our souls are sewn together with the same needle and thread,” he sings in the chorus in a recognition that the pain and difficulties everyone faces should bring us together instead of tearing people apart.

And he hopes the song can help people achieve that desire.

“Too often, we pursue our needs while viewing the world only through the lens of our personal experiences,” Gedalya said. “But what goes unrecognized is that underneath it all, we are all cut from the same spiritual cloth, and if we accept in our hearts no matter our differences, deep down we share far more than we don’t, we will live more fulfilling and rewarding lives. This song is a recognition and a celebration of what we share.”

The song also fits into the mission of A New Song USA, a not-for-profit organization that promotes music with a positive message. The organization was founded by Gedalya, who serves as director alongside his musical performances and recording.

“With A New Song USA, I want to encourage artists and fans to find the most rewarding parts of their lives and share them with others,” Gedalya said. “The music we promote is a way to do precisely that.”

For more about Gedalya, visit
World Song Contest Is Looking For New Players Hello to all the creative, crafty, ethereal, nice, human beings on this platform!!

In case you have time to join an online music forum which hosts little song contests, where members suggest songs, listen to all songs and vote for top ten, please let me know (by posting here or in private message - if that function exists lol).

Of course, if you're author/performer of the song, you can promote yourself, but at the end of the day, you have to vote for your top ten songs of that month :D

It's called World Forum Song Contest (WFSC) and only countries which are not in Eurovision can take part.

Songs from the following countries are already taken for the WFSC July edition: Brazil, Colombia, Iran, Japan, Libya, Mali, Mexico, Myanmar, New Zealand, Palestine, Rwanda, Thailand, US Virgin islands & Venezuela. Meaning, if you wanna join WFSC July, you can play with another song from another country.

I'll start the contest on weekend, so if you have time, will & wanna listen to some good music, let me know soon. The music is mostly world music, so I'll give you a recap of some older editions for you to listen to:

That'd be all from me, thanks and take care!!


Dear Daria\'s \'Can I Be Frank?\' is the Sound from the 90\'s We All Love Maryjo Mattea, Joshua Hunter, Eamonn Donnelly, and Dan Abh are Dear Daria, the rising indie pop rock band from DC. This four piece band was formed by Maryjo Mattea, starting out as her solo band. However, this group felt more than just a backing band. The quartet played their last show as The Maryjo Mattea band in January 2020, and started playing as Dear Daria between February and March of 2020. Due to COVID-19, Dear Daria had to write and record songs remotely. Their spirit is a myriad of classic pop culture references like the MTV animated series Daria, Wayne's World, John Hughes movies, The Pixies, The Beatles and a vast assortment of other bands, movies and television shows.

Dear Daria released their debut album 'Can I Be Frank?,' which has hits like “John Hughes,” an ode to the director, “Best Life,” about living your best life in the now, and “Delaware,” a song inspired by their love for the film Wayne’s World. Their music holds the energy of The Pixies and guitar tones and drums of Paramore with The Beatles-eque melodic bass lines. Dear Daria’s sound is a nostalgic hit of the 90’s.

“'Can I Be Frank?' is essentially a two-part record. Half the record was written in the midst of a musically inspired summer," Maryjo remarked. “... which is reflected in the celebratory, living-in-the-moment vibes of tracks ‘Best Life,’ and ‘Delaware.’” The other half of the album was written at the beginning of the pandemic. Parts were “swapped back and forth digitally.” There were many difficulties recording remotely, causing setbacks and delays. However many setbacks prolonged the release of Can I Be Frank? Maryjo, Joshua, Eamonn, and Dan had a “collective desire to share these songs with the world.”

Dear Daria’s 'Can I Be Frank?' is the pop punk soundtrack to Summer ‘22. It takes the story telling aspect of Paramore’s lyrics, and puts them to The Donnas-esque rhythms and melodies. Maryjo’s vocals are reminiscent of Dolores O’Riordan’s of The Cranberries. All nine tracks have the energy of all three bands, and possess the vibe of Rilo Kiley. Can I Be Frank? is the perfect balance of authenticity and humor.

Listen here:
Changed World Miz Sally? Hugo senior, when he became a fan of the Beatles, never anticipated that one day Hugo Jr. would be composing music similar to the Beatle's songs. Even more incredible is the ability to master songs at Abbey Road Studios, where the Beatles recorded their biggest hits.

"Miz Sally" is the second single from Ali Hugo's new album "Home Boy." The song is a sort of ode to the musical sensibilities of John Lennon and Paul McCartney. "Miz Sally" might have easily been a smash on one of the Beatles' albums, and yet there is still a market for that style of Rock and Roll music in 2022.

In a survey titled "Rock Never Dies," respondents were questioned if "The Beatles are a perfect illustration of the adage "Rock Never Dies." and 62.9 percent of those polled agreed with the assertion. Given how the music industry has progressed, Ali Hugo believes it is genuinely incredible that the Beatles remain as relevant to today's Music buyers as they were back then.
Although "Miz Sally" has a 1960s vibe, it is entirely an original song written, arranged, and produced by Hugo. "There is a narrow line between recognizing the musicians that inspired the song and generating fresh stuff." I'd like to write a popular song, but I have no plans to join a Beatles tribute band anytime soon. Hugo exclaimed, laughing.

"I can't deny that I come from a long family of Beatles enthusiasts, and we even wanted to take advantage of the opportunity to master the song at Abbey Road studios, but my team was concerned that doing so would be crossing that fine line," Hugo explained.

"We have huge plans for Miz Sally, and we're hopeful that the song will do well, especially in the UK." Hugo stated that "Miz Sally" will be released on July 12th, 2022.
Billboard Charting Murat Ses (Father of Anadolu Pop) 2022 Album OPBE DANCES 3 Released OPBE DANCES 3 comes up with a sophisticated electronic, dance, ambient, world approach which has the hallmark of Murat Ses's legendary fusion style known as Anadolu Pop (Grand Prix du Disque in Paris, France, back then in early 70s) he worked out with his wife Nihal Ses (founder of first traditional, folkloristic dance group in Austrian College in Istanbul back in late 60s and early 70s). Artwork and themes by Nihal Ses aka OpBe, publisher of Clouzine (an online contemporary music mag supporting new and under the radar talents ignored by the majors).
The album's tracks were composed and produced during SES Team's stays in Florida and Los Angeles (USA).
Gary Meyers\' New Flamenco Album Transports Us to Andalusia Gary Meyers is an in-demand flamenco guitarist, composer, and producer who has performed at countless corporate events, weddings, private parties, restaurants, cafes, and more. He may not be from Spain, but he plays with grace under the brand "Dirty Flamenco" as an acknowledgement that he is a Westerner playing a music near and dear to the heart of Andalusia, Spain, and beyond. He learned under the tutelage of Maestro Rene Heredia—the man credited with bringing flamenco to Colorado in the 1960s. Gary is an intuitive performer with a command of flamenco and rhumba traditions who eases between set melodies and improvisatory flights of fancy to heighten the entertainment experience.

His new album, 'Desperado's Shade,' is a 10 song collection of original flamenco songs that transport you to another place. You feel like you are on the edge of a cliff in "Cliff's Edge" or about to cross a river in "Spanish River." He creates adventure in his music. You feel like you're on a quest or a long journey, yet he also creates a sense of calm. He is able to let the music tell a story that words would never be able to do. His finesse with the guitar is the lyrics that guide you through the stories.

Gary started as a self-taught guitarist at the age of 14, playing rock, shred, and classical. In 2002, upon hearing a friend play a rhumba, he put the electric guitar down. “Immediately when I heard him play, I knew what I wanted to do with the rest of my life,” Gary says. He continues: “I won’t lie, I was a pretty good electric guitarist, but flamenco is a completely different technique. I had to start over, and it took many years.”

Give 'Desperado's Shade' a listen:
Imagine the serenity of walking through mountaintop cloudbanks, and one gets a sense of Cloudwalker and the Ascent, the new release from Zero Ohms, releasing today on Spotted Peccary Music. Richard Roberts, the electronic ambient music composer behind Zero Ohms, takes inspiration from the western North Carolina mountains where he lives to create electronic textures and meditative flute melodies.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



Spotted Peccary


Artist page


Varsetile Eastern Cape Musician ,Rapper,Songwritter,Vocalist,Proffesional Perfomer,An independent Recording & perfoming Artist  his Real Name is Samkelo Christoph Mbele his stage Name is SMK Born ,Raised & buttered in Eastern Cape ,inspired by Eminem ,who during the 1990 s Manage to Make it in the industry that was known as the industry for Black fokes & Marshal Mathers ll made it & dominated it,SMK believe that his music deserved to a global attention ,he said Young Or old people can enjoy his music ,he have catered his audience the following Genre s & Ensure that he drop Exclusive Hits ,Hip Hop,Amapiano,Kwaito,Afropop,R&B,Gospel & Masikhanda in one Album (Bluprint 2022) The CapeGod as he is known by his friends, fans & haters said this Album is just an Album of ensuring that he has got hits in multiple Genres ,What more inspired the Rapper beside the influence of Mr Marshal is ,he speaks for the silence ,(people who are afraid to speak out without fear,favor or Prejudice) he said also to teach through his music.You can t listen to my SMK then fter that you don t fill monivated ,SMK Said

Record Label s need to try artist such as SMK for various reason ,multi talented ,he can help in your team of scout When i found DecentDoggz Entertainment A developing Record Label in Cape town the aim was to present on opportunity to unrecognised musician to have a filling of recording their music & have chance to Manage their own work ,like publishing,Distributing ect ,funding was the issue but Western Cape people can tell the major role played by this label ,some will say D Doggz Records that Give Birth to Pride Records .This and few other things can show you who SMK is ,He manage to Mrket the label & the artist under this label
Star Goes Nova\'s Self Titled EDM Album Reveals Her Musical Abiltiy Star Goes Nova is an intrinsic soul who creates epic stories that combine real instruments with electronica, transcending past and future. She does this through her 115 year old piano, power drums and deep bass music. These sonic manifestations are empathic spaces to stargaze, gather personal power or share thoughts from other worlds.

She finds meaning in space, time, and thought, giving her music another area of musical depth and endurance. She just released her debut EDM and cinematic self-titled album, 'Star Goes Nova." Consisting of 8 original songs, 'Star Goes Nova' has 6 of her previously released singles that are remixed to create a cohesive album alongside 2 new singles, "Phat Barbarella" and "Words and Stardust."

"Phat Barbarella" is the drum & bass and sci-fi inspired single that has a Pink Floyd style to it. Star Goes Nova takes Jane Fonda's 1968 classic Barbarella into a dubstep psychedelic future. Sci-fi synth melodies over dubstep vibes and grime bass release us from gravity as we dance on our starship through outer space.

"Words and Stardust" is a conceptual song that has electronic ethereal music that swirl and layer. "During the pandemic, I started thinking about how so many of us were creating online relationships for connection," she shares. "I kept thinking about how words and imaginations are often the only thing exchanged in an online relationship. Ethereal wishes. So much desire. So much yearning. Unreal. Stardust. I imagined each lover thinking 'You are all my favorite words, but you are stardust, words and stardust. I keep dreaming where we're going, that we have meaning, that we're worth believing. You’re still here and I’m still here and words are everywhere, but it is only stardust.' I wrote this song…. without words, of course, but with lots of stardust."

Listen here:
\'Thoughts and Prayers\' is the Nostalgic Alt-Rock and Pop Grunge We Want The Chad Sipes Stereo have been together for more than 10 years. Their alt-rock and pop-grunge sound is reminiscent of the 90's giving the listener a sense of nostalgia with every listen. Their new album, 'Thoughts and Prayers,' is a poignant one with a Weezer Energy and Green Day vibe.

'Thoughts and Prayers' is Chad Sipes way of confronting a taboo topic, though an important one to tackle. Based on the theme of the opioid crisis, 'Thoughts and Prayers' takes on every aspect of the relationship we as a society have with pills; everything from parenting styles in "Every Single Kid" and "Therapy" to addiction in "Relapse" and "New Prescription."

“It felt like the time to say something,” shares Chad. “With this album, I decided to explore a narrative about the opioid crisis we face here in America. I am by no means an expert—I don’t want anyone to feel bad about taking medication—but I see something dangerous and very widespread.”

Thoughts and Prayers is a career milestone album on many levels. Besides representing an ambitious artistic feat, the album showcases a band at the height of its powers 12 years in, and it’s a testament to the quartet’s longevity. Chad says: “I’m really proud of this record. We left no stone unturned, and made the album I've always wanted to make. I have never felt this way before, and I am so excited for people to hear it.”

Listen here:

Yabada Africa Album Yabada is a newly term Zamisto composed meaning simultaneously sing, dance & jump more like rejoicing in happy mood and good vibes. The album, "Yabada Africa" has 17 tracks and each track has its emotional connotations to it as described below:

Zamisto is an artist, a solo artist, songwriter or a lyricist, singer & performer aspiring to express himself (my feelings/Imizwa yam) through music vibes essentially healing, delighting & endowing people with fresh sounds. Oh yes, I’m (knocking/ndiyaNqonqoza) and always calling upon Friday (Hoza/come Friday) as my favorable day of the week albeit I take every day as a (Brand new day).

Indeed, we have Afro-popped a number of tracks for Afro-poppers and Afro-trappers (Yabada Africa) but only individual singles for Afro-house-keepers Qula Kwedini with some Xhosa cliques & for our Reggae lovers with some Afro-pop flair respectively.

In response 2 current wreak havocking Amapiano sounds in Africa, we have 2 tracks chasing the trend 4 now, check them out. For Gospel lovers, I have a message for you children of God – I speak peace, love & respect, Nkosi sikelela abantu bakho/God bless your people . In fact, we have about 4 gospel tracks aimed to heal & restore our people’s diverse situations, persistent circumstances and vulnerable life conditions.

Trying 2 be contemporary and versatile at the same tym isn’t a walk on the park, I ended up becoming Sishumane bcz of my music ambitions, shame on me but @ least it happened during covid19 lockdowns, hay’ Ishubile bakgotsi keCorona. Anyway, let me congratulate Dillidizza for safely passing thru manhood passage during this summer school initiation campaign. Mabaye bephila babuye bephila. Was it lockdown blasphemy and or blemished year Dillidizza? Hay’ nam andazi kodwa ke your time was long overdue (Yo tym is up) dedela (amakhwenkwe) abanye.

Yabada Africa album is a 2 year project and it couldn’t have been manifested possibly, without faith in action and Masandawana always testify for (people-process-systematic) support, assistance, teamwork including hard work, belligerent hiccups, obstinate obstacles, and self or manufactured regrets but I thank God (Heavenly Father) for his mercy, grace, favor and unconditional love.

By the way, Sumeya (the hottest track) is a true personal story based song. I almost lost my other half whilst chasing my dream (Lord mend this). I dedicate this album 2 u Sibonise and our beautiful daughter, Sumeya (Intombenhle). I’m truly sorry babe and honored for ukubonisa uthando lwam oluthi nkente-nkente tiki-tiki boom-boom.

I salute you all in the wonderful name of Yahweh, Yashua, God bless Africa.


1) YouTube

2) Spotify

3) Apple Music (Shazam)

4) WYNK Music

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Biography Hello!
My name is Zamikhaya Tafane famously known as Zama. I reside in Midrand, Johannesburg, Gauteng province in RSA. Born on the 05th December during apartheid regime, bred in a small town Tsomo, under Chris Hani district in the Eastern Cape province at Mtshabe, eGesini village. I studied in Stellenbosch, CPUT, and Unisa Academia in the Western Cape province. I have worked in the public service for years prior relocating to Gauteng for greener pastures. Now, I sing & perform music.

I am an artist & my stage name is Zamisto.

Hang on a sec, let me thank you for reading my biography & for your support. Actually, your support is highly appreciated and THANK U & take 5 may God bless U n Me.

In anticipation for greater things 2 come, towards realizing my music ambitions – I’m looking forward 2 establish mutual beneficial relationships in business & music world. Hesitate NOT, try me now, let’s collaborate, chat & talk business. Indeed, I am an African man, tall in height, humble inside & short in messages.
 Strategist & Business Planner
 Business & Research Analyst
 Knowledge Management Activist
 Information Management Activist
\ Belief Records, a boutique independent record label, is gearing up for the release of songs from Ali Hugo's upcoming project. Following the success of Ali Hugo's Afrodisiac EP, the Belief Records research team set out to create new marketing strategies for Ali Hugo's forthcoming album. Hugo has already finished recording tracks for his upcoming rock-oriented album, "Home Boy". "The inspiration for "Home Boy" came from Belief Records' use of video-based marketing techniques to promote Hugo's Afrodisiac EP, which received a lot of attention" (ROAS). "Home Boy" is inspired by the MTV years when rock reigned supreme, and Belief Records wants to emphasize that "Rock Never Dies." According to Belief Recording artist Ali Hugo, it's absurd that rock bands and solo artists who are still actively producing music today are referred to as "That 90's band!". As a result, the Belief Records team believes that the "Home Boy" album provides an opportunity to introduce Ali Hugo fans who aren't buyers of rock music to the world of rock & roll. "Apart from Linkin Park and 30 Seconds to Mars, there hasn't been a charismatic, successful rock star since Kurt Cobain." said a belief records team member. Hugo fans in Europe, North America, and around the world are hoping that "Home Boy" will satisfy their cravings for rock & roll music. Especially those who took part in Belief Record's "Rock Never Dies" marketing research survey. The concept of the "Home Boy" album piqued the interest of the participating fans.
"Home Boy" will also include a country song and an instrumental song, both of which are staples of Ali Hugo Belief Records' formula. The decision was motivated by a desire to increase downloads, according to the Belief Records team. Hugo's country and instrumental tracks are popular on DSP. And it makes financial sense to continue releasing original songs in those genres for download.

According to Belief Records, having an artist on the label's roster like Ali Hugo, who has generated 2 million streams in 2021, adds significant value to the bottom line. We realized the value of working with an artist like Hugo on the "Home Boy" album, Hugo started writing and recording up to three songs a day for the project. Hugo began to sing, and when we asked where these songs were coming from, he replied, "All I can say is that I thank God for the gift of music.

" Belief Records' current goal is to create innovative and effective marketing techniques for "Home Boy" in order to gain access to new markets. The "Home Boy" sound, for example, has a distinct "Maple Leaf" flavour to it. As a result, working with agents who can help us get the music into small-town stores across Canada and the United States is critical. Streaming music is essential. However, the Belief Records marketing team hopes that the "Home Boy" album will be the recording with the most downloaded songs in Belief Records history. Belief Records is also planning to release the album on CD and vinyl.

Given that highly compensated artists make most of their money from live performances, the music on the "Home Boy" album is well-suited for stadium, arena, and Amphitheatre concertgoers who purchase advance tickets, and the same Home Boy songs can be customized for virtual concerts and paid online performances. The "Home Boy" album arrives at a critical juncture where rock music is trending globally, as the hottest ticket for the summer is for the sold-out Stadium Tour featuring rock legends Def Leppard, Motley CrÜe, Poison, and Joan Jett. "I've seen many groups bring back DISCO and traditional R&B arrangements to a new generation of listeners, and I believe that same success formula can work with rock music," Hugo explained.

According to a Belief Records team member, "Home Boy" songs can reach a wider audience with the help of many of our friends at radio and generate more sync and licensing opportunities with Belief Records." "We are going all the way with this record, and we are determined to use all the tools at our disposal to create a hit record," says Hugo of the "Home Boy" album.
Along with the release of a new album, Belief Records and Intercept Music/Ingroove/UMG have formed a new partnership. The collaboration will assist Belief Records in expanding the Ali Hugo brand while increasing album profitability prospects through innovative marketing, catalogue management, distribution, and merchandising methods. The first single from the Home Boy album There's a light out there" will be released on June 16th, 2020.
We’re Feeling a Yes for \ John Greska has been writing and producing music for many years now, and has recently released two instrumental albums: Day to Day Thoughts and Life as an Ocean, both of which are available online on most streaming services such as Spotify and Apple Music. John has begun delving into writing songs with lyrics and does not always feel moved to sing them. He aspires to continue his craft as a songwriter and is excited to share his music so that he can connect with other singers/songwriters and grow his craft.

John’s music is a fusion variety that combines elements of pop lyricism and modern classic melodies along with electronic bass rhythms. He is inspired by other artists who also integrate fun music. If the Arctic Monkeys and Simon and Garfunkel decided to collaborate into a current musical phenomenon it would be John Greska.

His new folktronica like song, "Mamma Maybe" takes themes of time and change and places it within the made up narrative of a mother and her son. It's a fresh sound that bears no real comparisons, though it's reminiscent of Mumford & Sons with a sort of structure and lyricism like The Beatles. Inspired by history and intrigued by how the people who lived through certain events thought of change, "Mamma Maybe" is about a mother who's beliefs and ideals keep her in the past and unable to connect with her son.

“The writing process was surprisingly difficult. Taking out the fact that I was trying to write about something extremely intricate and not really song-like, the actual music was super tricky. There were certain parts that had to sound happy and certain parts that had to sound ominous and the ending was rewritten three times. The ending of the song was the hardest part to find, because how do you end a story like this?”

But all that hard work seemed to pay off with “Mamma Maybe” bringing unique tones and artistic influence to a new direction of music.

Listen here:
fire Power Music  from Eastern Cape Born Rapper SMK coming from the dark streets of Eastern Cape in the heart of South Africa in the Eastern Region ,his full name is Samkelo Christoph Mbele ,some call him Monsta,Zikode,Guru Matara they actually call him with his Exclusive Hits from his project of 2020 Album Do Or Die P2 which he confirm that this is the corrections of his previous projects ever since he started his music caree,His Stage Name is taken from his full name & always reflect or aim to original .

Earthnocloud spoke to SMK he said after writting a classword and you failed it You will have to do a corrections meaning that the teacher now must tell you whe did you go wrong ..So SMK is actually fixing that with Do Or Die P2 : A 20 songs Album .The South African Rapper,self trained music Pproducer is now done with his recent Project Bluprint on this one SMK said this is a classic Album an album that contains only Hits ,he is done with it & will soon be busy with an EP tittle #No Retreate No Surenda
\'For You, The Garden\' Touches the Souls of All Ages Artist, musician, filmmaker, teacher, gardener, beekeeper, parent, and partner, “Wurmy Wormfield,” aka Charles Herman-Wurmfeld, has been a dedicated artist from the age of 13. Many have experienced the Silverlake, California-based entertainer and filmmaker’s onscreen work. Yet, few are familiar with his decade of creative work helping overturn a Los Angeles public-school parking lot, and transform it into a community garden and educational center. This call to action inspired a magical personal journey that brought forth a lifelong love of music, birthed the alter-ego Wurmy Wormfield and has culminated in the sweetly opulent folk-pop, debut album, 'For You, The Garden.'

'For You, The Garden' may be aimed at children, but even adults can find themselves singing and dancing along to his groove filled songs. The album has 19 songs and covers every topic under the sun. He sings about the Big Bang, compassion, empathy, climate change, and even our collective relationship to the land. Each song has catchy rhythm and a fun styling and vocals like Leonard Cohen.

'For You, The Garden' was inspired by the community garden that Wurmy helped make in Silverlake back in 2008. He joined his neighbors and community to create the garden in an overturned parking lot. It took a year to complete, but when it was, Wurmy could see the joy it brought to people. Timeless ideals of returning land to nature, community gathering around common, shared spaces, and the awe of watching nature bloom and cycle made a mystical impact on him. He was in many ways re-born & had no other choice but to sing about it.

For You, The Garden features original, storyteller songs, delicately adjusted popular covers, and well-loved traditional tunes. Wurmy quippily calls his music “veggie-alt, consciousness-pop” and it brims with humor, buttery male vocals and orchestral accompaniment. A conceptual touchstone for this project is Harry Nilsson’s immersive album and animated film experience, The Point!

Listen here:

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

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

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

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

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

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

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

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

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

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

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We La La Love the Debut EP from Brittany and the Blisstones Hailing from Chico, California, is the uplifting island-pop sounds of Brittany and the Blisstones, a duo who specialize in elegantly adorned, heart-crafted songs.

Brittany Bliss and Reid Givens make up the twosome, and their journey is a touching story of reinvention, reclamation, and second chances on love. In addition to warming hearts, the couple are opening minds to female artists and helping shift the narrative of women in creative fields through support and exposure. Brittany and the Blisstones released their recording debut EP, 'La La Love,' on Friday, May 13th.

“We recorded the songs ourselves. We rented a garage and built a small room inside it to record the live instruments in. We purchased the rest of the gear needed and tracked everything we could ourselves. For instruments we can’t play (trumpet, cello, etc) we hired musicians from all over the world through the internet to record the parts and send them back to us,” shares the duo.

Brittany and Reid write songs that sweetly seduce you into mindfulness. The mellow tones of their distinct island-pop draw from an expansive artistic palette of pop, orchestral, rock, jazz, reggae, ska, Latin, new wave, and beyond. Brittany contributes sultry vocals, jaunty ukulele playing, and co-writes the songs alongside her partner Reid, an accomplished drummer and percussionist with an expansive command of rhythms and a keen sense for the healing power of good grooves.

The five-song EP bursts open with “Mermaid,” the first song Brittany ever wrote. It is a song about reconnecting with nature, but it also seems to be about reconnecting with Brittany’s own human nature. The lyrics brim with breathtaking imagery and awe-inspiring reflective moments. She sings: By the sea/A mermaid rewrote the pages of all my dreams, so I found fear and faith in the waves. The music is as majestic as its impressionistic lyrical passages. The song lilts on a vaguely Jamaican pulse and brims with jeweled trumpet melodies, vocals that are sultry and sensitive, lush layers of harmony vocals, and moody chord changes that have a sweet sadness.

The song “Some Times” wields a hypnotic chord sequence and a crisp beat, and exudes a slow-burn emotionality. “This is a song of mindfulness,” reveals Reid. “We can’t control what thoughts pop up in our mind, but we have a choice to focus on the good stuff.” The song’s anthemic outro is a rallying call to choose happiness. It concludes with the lyrics: Let’s all keep singing/We’re surviving the flood/We’re all still singing/Cuz we’ve got air in our lungs.

The title track is a jazzy dose of sun-kissed pop featuring summery horn fanfare. The song’s unflinchingly positive vibes nicely mirror its lyrics. “The song is about how love is our natural state, not something outside of us that we have to constantly be searching for,” Brittany says. She continues: “The love expressed here is not romantic love, it’s about finding love in simple moments in life.”

One of the biggest lessons of Brittany and The Blisstones is it’s never too late. It’s never too late to pick up an instrument. “Brittany just had her first piano recital since the second grade,” Reid marvels. And it’s never too late for love. Brittany says: “We got another chance at love, and rediscovering who we really are as people. It’s been such a beautiful restart.”

Listen to 'La La Love' here:
  Randie O’Neil´s “Daddy’s Pride” is a Slice of Americana Folk Rock Americana Folk-Pop artist Randie O'Neil is back with her new single ¨Daddy´s Pride.” This is a heartfelt song about the loss of O´Neill´s stepfather, who did not provide a happy childhood or instill a sense of pride in her. She had to find that on her own.

With her charming and witty lyrics, together with catchy melodies, the song inspires others to stand up for themselves. O´Neill really does dive in and tells a story about her upbringing in a very direct but also genuine way.

¨Daddy´s Pride I wrote completely in 20 minutes, the only song my producer didn´t change a
note. It´s my parents selling my guitars. The biggest failure is for a parent not to teach a child to
be proud and support them. I had the strength to stand up and find it on my own. I know many
don´t and stay lost and insecure.¨

O´Neill draws on a lot of her own experience, as a child, growing up in an abusive and alcoholic environment, she had to develop coping strategies. Now, O´Neill brings this experience to bring the listener a message of compassion, hope and understanding.

O´Neil has released lots of albums throughout her music career, but her acclaimed album “I´m Not That Girl” is one that really showcases her roots and country sound. Her musical influences include Melissa Etheridge, Fleetwood Mac, Cyndi Lauper and Dolly Parton.

Listen here:
4 Dangers of the Blame Game to Watch Out For The blame game is a very old but popular game which started right in the garden of Eden. When Adam and Eve sinned, each tried to put the blame of their transgression on someone else. Adam blamed God and Eve, while Eve blamed the serpent. It was each an attempt at protecting themselves by denying guilt and responsibility.

No one is immune to the blame game. People of various religious, academic, social, and political classes play this game all the time, and it can be hard quitting or even realizing what you’re doing.

A lot of Cameroonian artists play the blame game really well. “If only fans would stop listening to Nigerian music”, “if only blogs would stop being selfish and promote our works” and even “if only other artists with bigger platforms will pull us up” and so on.

When we hear talk about fan apathy, we’re quick to clap, but do we really care to listen to the concerns of those who listen or want to listen to our music? Do we approach blogs to plead for a spotlight or do we feel entitled to be noticed by them effortlessly? Do we evaluate our music from the perspective of a listener, or do we feel so good about our work that anyone who doesn’t vibe to it must be jealous or unsupportive? These are questions we need to ask ourselves before we put the blame on unenthusiastic fans or selfish bloggers.

To quit the blame game, whether you’re an artist or in another field, you must always look inward first. Only when you see no blame there, should you look outward.

How to know you play the blame game

When you’re quick to point the finger in a different direction other than at you, you’re a blame game player. If it hurts to admit you’re wrong, but pleasurable to point out someone else for your failure, you’re a blame game player. If when you’re called out, instead of investigating yourself, you’re quick with justifications, insults, and threats, you’re a blame game player. When you have a sense of entitlement, you’re a blame game player.

Dangers of the blame game
The blame game lessens your poor conduct and diminishes guilt
Guilt, in its right place is a good thing. It tells you that something is wrong and needs fixing. But the blame game causes you to push guilt away instead of examining it, so that what should have worked out for your good instead becomes a wasted opportunity. When you don’t see your poor conduct for what it truly is, you become more established in the wrong thing or wrong direction.

The blame game player dodges responsibility and doesn’t learn from their mistakes
We don’t usually grow because of the good things that happen to us. Many times, it takes a negative situation for us to realize our weakness, failures, or need for growth. But you can’t grow if you constantly point the finger at other people for your shortcomings or failures.

Taking responsibility for your situation may be hard, but it’s one of the best things if you want to stretch your potential and influence.

The blame game makes others your scapegoat, so you feel good about yourself
It is easy to label other people as our scapegoat whether mentally or physically. As long as “it is their fault, not mine, it makes me feel good about myself”. Unfortunately, feelings don’t last long, and you will still have to face the consequences of your actions or inaction.

Don’t merely seek to feel good about yourself. Rather desire to be a better person, which sometimes involves shifting responsibility for your situation from others to yourself where it rightly belongs.

The blame game makes you unlikable
Nobody loves to be around someone who constantly sees or puts blame on others and never accepts blame. In fact, playing the blame game proves you’re a narcissist, someone who’s obsessed about themselves that you don’t care how your actions or inactions hurt other people.

How quickly and easily do you take responsibility for your actions or inaction? Do you always feel that your life will be better if only other people put their act together? Please share in the comments below.

Thank you and God Bless


Connect on Facebook, Instagram & Twitter @AkubaiOfficial
The Impliers\' Newest Single is Hypnotic and Psychedelic Dan Ingram and Charles Hartman started making music together at just 15 years old, united by a bold desire to explore the outer limits of alternately tuned guitars. The pair had an immediate intuitive connection, and hunkered down in a storage shed to home in on its avant-garde aesthetic. They emerged as Phantom Zell, a weird indie-punk band that specialized in experimenting with sounds and what an instrument was capable of doing before it sounded wrong. “We played punk shows, but we were the only band in the scene that broke the punk rules by not playing that typically fast and aggressive sound,” says Charles. By age 17, Dan and Charles’s songs were earning placements on compilations alongside diversely popular acts such as Of Montreal, Fugazi, Jawbreaker, Dillinger Escape Plan, and Converge.

Today, they are the alternative and indie rock duo, The Impliers. What hasn't changed is their desire to break out of the box and create music that's unlike anything you'll hear anywhere else. They still experiment with textured synths, electronic beats, harmonies, and oddly tuned guitars. If you listen closely, you can hear influences of Radiohead, The Beach Boys, NIN, The Beach Boys, Tame Impala, David Bowie, Sonic Youth, Depeche Mode, Blonde Redhead, Pixies, and Beck.

Their newest release, "I Promise" is the second from their upcoming album, 'cocoon.' "I Promise" has a psychedelic rock sound with a strong Pink Floyd sound. Dan says, “This is one of the first tracks we wrote for the record and highlights the indie guitar sound we formulated as teenagers within our more modern electronic, layered flavor.”

“Most relationships are loaded with promises, and the composition, tone, look and feel of the promises look different based on the situation, and especially evolve over the span of the relationship. This song tends to mirror that,” shares Dan. The promises in the song morph as the narrative unfolds. The chorus has the most synthetic sounds while the guitar is the primary instrument during the verse and bridge. It's a catchy song and rhythmically pleasing to the ear.

Listen here:
Craig Norris Byrd\'s Debut Album is A Beautiful Catharsis Through Art and Music The alternative folk rock singer/songwriter Craig Norris Byrd has been part of the arts for years. He free-lanced as a stage professional where he did lighting and stage managing for all types of shows in all types of venues. He managed the production of tours and shows for dance, opera and theatre companies, all the while keeping his artistic fire burning by studying modern, ballet and ballroom dance. Eventually, he fell back on his technical background and signed on with a company that did high power laser display productions, becoming involved with display work for immense celebrations, including Times Square ball dropping ceremonies, Independence Day celebrations and lasers from the top of the world shooting out over the NYC sky from the tops of the World Trade Center towers.

Recently, he has realized that his own creative endeavor with his music has lacked. "Since adolescence I have written song and poetry for its own sake, doing nothing with it," says Craig. "Possibly the mere act of creating was enough to satisfy me. There is something about putting the way I feel into words and putting those words to music and movement that has forever fulfilled a deep longing; as hesitant as I have been to share my sentiment with others." But, we are glad he decided to take that leap.

He just released his debut conceptual album called 'Remissions,' a 10 song collection about deeply personal events in Craig's life, from his sister's losing battle to cancer in the upbeat folk rock song "Gina Rides a Tiger" to the love song he wrote for his wife when they got married in "Consuelo." He has a Simon and Garfunkel meets Johnny Cash in both the sound and style. “I am not so interested in publicizing what I have done, but I am interested in sharing where this album comes from,” he explains. “This album is a personal statement I had to get out of the way before I could move on.”

Byrd takes the personal and makes it universal on his intimate album which is steeped in a myriad of folk traditions. Select artistic touchstones here include Warren Zevon, Stephen Foster, Paul Simon, Damien Rice, and Byrd’s biggest influence, underrated singer, songwriter, and guitarist John Martyn, best known for his innovative work with UK folk-jazz legends Pentangle. Byrd’s creativity is also informed by his passion for dance, yoga, and non-dual philosophy. Remissions was solely composed, arranged, and produced by Byrd, but features a bevy of ace musicians supporting his fine songcraft. The album’s title speaks directly to its thematic bend.

Listen to 'Remissions' here:
René Villa releases sweet acoustic ballad \ Costa Rican singer-songwriter and model René Villa releases his sweet acoustic take on the hit Banda song “En Peligro De Extinción.”

The cover will serve as the first single released on 2022.
Villa describes his version of “En Peligro De Extinción” as a sweet acoustic ballad, and the romantic song about love and loss in a chill mood, featuring Villa's soft, sweet and emotive voice.

Fall in love with his version of this song.

This promising, new artist’s first album, “Rawr” was released in July 2021 and is available on all digital platforms.

Learn more about René Villa on his official channels.

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Aspen Jacobsen\'s \ Contemporary folk artist, Aspen Jacobsen, releases her latest single “Dear Brother” for Autism Awareness Month. Compared to artists such as Joni Mitchell, Ani DiFranco, and Molly Tuttle, Jacobsen’s honest and thought-provoking lyrics are sure to leave wanting to hit repeat.

“Dear Brother” is a very personal statement on mental health that recalls prime Joni Mitchell. This song was inspired by Aspen's brother who struggles with Autism and depression. Disturbed by her brother's struggles, Aspen wrote this song in the bathroom one night as her roommates slept. She played it at her school's open mic the next day and left the room heavy with emotion. Last summer she recorded "Dear Brother" in Nashville at OMNISound with Dominic Davis as Producer, Larissa Maestro on cello and Aspen on guitar and vocals.

Jacobsen states, “I think it is one of the fastest songs I've written where I immediately felt it was complete," Aspen explains. "When I was done, I had a sense of calm. The song is therapeutic, raw and heartfelt."

Aspen hopes this song is relatable and comforting for those who have a loved one struggling with autism, depression, or other challenges. Listen to "Dear Brother" here:
David Helpling is a California-based musician, guitarist and keyboardist, recording artist and film score composer specializing in ambient music and electronic music. He sonically embraces listeners with his signature guitar sounds and textures, crafted synthesizers, powerful percussive pulses and rich multi-dimensional recordings. His production company is named DHM Music Design.

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

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

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

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

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

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

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

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

On March 16, Ambient Zone held a Sessions Video Release Party, an 55-minute interview with Helpling discussing the project, which can be heard at

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Spotted Peccary Music

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

Artist Website & Social Links:
IN Smartlink:
Spotted Peccary Album Page:
You’re Gonna Wanna Sing Along to \ “Walk.Talk.Dance.Sing is the new album by Eli Lev and is inspired by the entire range of emotions that we all went through as the world around us changed overnight. We reimagined what our lives could be like and how we connect with each other as human beings over two years of a pandemic and that is what this album encircles. The writing process was fraught with isolation and yearning for creativity and connection, but also each song a miracle in the fact that it even came to existence during a lockdown. Virtual sessions, remote jam sessions, online collaborations, and masked recording time in the studio came to fruition in these five singles. I wanted to convey a message of humanity and hope, that anything and everything is possible no matter the odds, and that it is up to us to create our communities in our own image of strength and positivity.”

Rising singer-songwriter and global citizen Eli Lev is making the world a smaller place, one song at a time. Eli pens lyrics and melodies for everyday enlightenment—songs that resonate because they’re heartfelt, earthy, and offer the wisdom he’s gained through lifelong travel and self-discovery.
Prior to becoming a full time musician, the Silver Spring, MD native spent three years as an 8th grade English teacher on the Navajo Nation in Northern Arizona. The indigenous traditions he learned during this time are the inspiration for his Four Directions project. Just as each cardinal direction holds unique characteristics in the Navajo tradition, so do each of the albums in Eli’s ‘Four Directions Project.’ Together, the series imaginatively and intrepidly connects spheres and generations within a body of work that is irresistibly uplifting, emotionally resonant, and down-to-earth authentic.

Eli explains, “We are surrounded by four directions, and each has distinctive attributes, powers, and teachings according to Navajo traditions. For example, because the sun rises in the east, it is the first direction and source of new ideas and inspiration.

The northern direction in Navajo belief is that of the black night, of reflection, of quietude, of completion, and the stage where we get the highest amount of understanding from events and actions. From growing up in Maryland, studying in Indiana, being a teacher in Arizona, living abroad in Israel and Andorra, and finally coming back home to Maryland and becoming a full-time independent musician- has offered experience to create to the fullest of his ability. “I felt it important to follow the order and the characteristics of the four directions belief system as it holds deep wisdom and kept me on track and guided me through the entire project.”

Eli is releasing single “Singing Along for the First Time” along with his Walk.Talk.Dance.Sing album and we cannot wait! The single is a folk bluegrass wonderland that holds his voice majestically as it creeps through the highs and lows and harmonies of this beautiful serenade.

Eli’s releases have earned critical praise from Paste Magazine, Buzzfeed, CBS Radio, AXS, and The Bluegrass Situation, and have received national folk radio support and placement on prominent Spotify playlists. In 2019, Eli Lev won multiple industry awards for his work: his second album Way Out West won a Washington Area Music Award (WAMMIE) for best Country/Americana album, while his single “Chasing Daylight” won a grand prize in the SAW Mid-Atlantic Songwriting Competition.

Listen to "Singing Along for the First Time" and 'Walk.Talk.Dance.Sing.' here:
Michael Gutierrez-May\'s Single \ Michael Gutierrez-May's single ¨Drifting to the Right¨ comes from his new album of the same title. US singer-songwriter Gutierrez-May has been writing music since he was 16 and promoted many shows in the 80s, but then took an almost 25 year break before returning to release new material in 2009. His passion for music and for writing continues on to today.

The song is a beautifully crafted acoustic song inspired by a friend of Gutierrez-May who commented he was ¨drifting to the right¨ after talking with him.

“This was inspired by something the same friend said after talking to someone he knew in high school and after talking to him, commenting that he was drifting to the right. This is something I have also seen with older people closing their hearts and wanting to shut out the new, emerging America, younger, more multi-racial, more diverse in lifestyle. I feel those of us who are older need to embrace these changes and the continuation of the spirit of egalitarianism and democracy into the future.”

This thoughtful and empathetic song is strong in the tradition of American folk and country music, with its characteristic guitar strums and vocals. The listener is intrigued to hear more and, as the song develops, there are more elements like the haunting backing vocals and piano.

Today, Gutierrez-May calls himself “Social Worker by Vocation, writer and musician by Avocation”. Influences include Paul Simon, Stevie Winwood and Bruce Springsteen. Comparisons have been made to other artists such as Jeffrey Lewis, Paul Simon and Phil Ochs.

Listen to more stories on Gutierrez-May´s forthcoming album “Drifting to the Right”. The album was created with a group of eleven other musicians, produced by Stephen B. Martin and engineer Joe Clapp at Ultrasound Productions.

Stay current with Gutierrez-May:

Listen to "Drifting to the Right" via:
YouTube Music:
Homage to Sergei Parajanov and Sayat Nova Dear friends, colleagues, musicians and music lovers,I want to thank you all, to inspire me with your great appreciation. A song that I recorded many years ago became one of your favorites! 'Yis Ku Khimetn Chim Gidi', the folk-rock cover of a love ballad by XVIII c. bard Sayat-Nova, was and is in the Top 40 for many consecutive months, so I decided to make a video of this song.
Few of you might know that the hero of the famous movie 'The Color of Pomegranates' of Sergei Parajanov is the very same Sayat-Nova- the famous Armenian bard from 18th century!
I edited a video, using magnificent visuals from this cinematic masterpiece, and also added some more frames from Polish-British producer-filmmaker Daniel Bird's installation from unused footage from 'The Color of Pomegranates'. This installation called 'Temple of Cinema' was held in Yerevan, in 2019.
Thanks again and enjoy!

Ps.I am often asked about the lyrics... ET VOILA!
Don’t know how precious you are,
Like a gem you are,
The one who sees you, becomes like Majnun,
In the image of Layla you are.
Sayat-Nova, 18th cc.
Յիս քու ղիմէթըն չիմ գիդի`
Ջավահիր քարի նըման իս.
Տեսնողին Մէջլում կու շինիս`
Լէյլու դիդարի նըման իս:
Սայաթ-Նովա, XVIIIդ.
Jeff Greinke is a musician, composer, performer, and sound sculptor who is known worldwide for his unique sound. Through a highly developed process of layering, Jeff composes and performs music rich in texture, depth, mood, and subtle detail. Using various acoustic and electronic instruments, found sounds, and extended studio techniques, Jeff sculpts soundworlds that conjure a strong sense of place, hovering somewhere between the exotic and the familiar. With numerous releases to his credit, Greinke has been an active artist for more than three decades and has composed music for film, video, dance, theater, radio, and art installations.

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

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

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

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

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

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

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

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

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

Noctilucent is available exclusively in digital format.

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

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

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

Spotted Peccary Album Page:

We Don’t Want This Song Just Sometimes We Want it All the Time “Some Times” by Brittany and the Blisstones wields a hypnotic chord sequence and a crisp beat, and exudes a slow-burn emotionality. Brittany Bliss and Reid Givens make up the twosome, and their journey is a touching story of reinvention, reclamation, and second chances on love. In addition to warming hearts, the couple are opening minds to female artists and helping shift the narrative of women in creative fields through support and exposure.

“This is a song of mindfulness,” reveals Reid. “We can’t control what thoughts pop up in our mind, but we have a choice to focus on the good stuff.” The song’s anthemic outro is a rallying call to choose happiness. It concludes with the lyrics: Let’s all keep singing/We’re surviving the flood/We’re all still singing/Cuz we’ve got air in our lungs. Brittany and Reid write songs that sweetly seduce you into mindfulness. The mellow tones of their distinct island-pop draw from an expansive artistic palette of pop, orchestral, rock, jazz, reggae, ska, Latin, new wave, and beyond. Brittany contributes sultry vocals, jaunty ukulele playing, and co-writes the songs alongside her partner Reid, an accomplished drummer and percussionist with an expansive command of rhythms and a keen sense for the healing power of good grooves.

“We have a magnet on our refrigerator that reads ‘Don’t believe everything you think.’ It’s there to remind us that we don’t really have control over the thoughts that enter our minds - they just show up on their own. What we do have control over, if we’re paying attention, is which of those thoughts we choose to focus on and expand. Remembering that there is a choice is what ‘Some Times’ is about.”

“The track has three verses, and then ends in a B section that is SO much fun to perform live! The B section is an anthemic call to just keep going, no matter how much mud you feel you’re stuck in, because we ALL feel that way at times. So, just like Dory says in Finding Nemo, we can help each other the most sometimes by just reminding each other to just keep singing.”

The story of Brittany and Reid is as exhilarating as the music they make. Brittany is a lifelong closet performer. She has been singing since she was 3, she dabbled with choir in high school, and performed with the Oakland Symphony Chorus as an adult. But she never invested in her natural gifts, burying her desires beneath domestic responsibilities in her previous marriage.
Reid has a similar story of setting aside something that was essential to his soul for home life. He had been playing drums since he was 9, and Reid was a promising musician with expansive abilities. During his time as an active musician, Reid played punk, adult contemporary, pop, metal, and prog rock. He even once opened for the Dave Matthews Band. But at just 18 he got married, and soon was raising a son with another on the way, and taking care of his ailing mother in law. These responsibilities took over his life, cutting a promising career as a drummer short.

“I think we both lost ourselves in our previous marriages, and rediscovering music was a way for both of us to heal and move past the pain,” Brittany shares. “When I dropped my youngest son off at college, I vowed to make music a priority again,” Reid says.
Newly divorced and making baby steps to reinvent their lives, Brittany and Reid first met at an open mic in Chico, CA in 2017. The fateful moment Brittany met Reid he was a fixture at the open mic, and Brittany was braving making her solo artist debut. Her performance that night captivated Reid. “You could tell she was very nervous,” he recalls. “But when she started to play, it was like she was channeling something that just hits you in a very vulnerable place.” The two spoke briefly that night, but felt an instant connection. Two weeks later, they saw each other again but this time they talked for longer, and the couple have been inseparable ever since.

Brittany became more galvanized to play music after the devastating November 2018 California wildfires that burned 153,336 acres, destroyed 18,804 structures, and claimed 85 lives in just 4 hours. This call to action spurred Brittany into booking shows, and nurturing her original music ideas. Organically, her solo project became a duo project with a fluid rotating cast of A-list musicians, some from their friendship circle, the local community, and beyond, including the international musicians who recorded on the EP.

Since forming in 2018, Brittany and The Blisstones have managed to earn an engaged fanbase through organic online exposure and their warmly intimate live shows. The duo has performed in various musical settings around the local Chico area and beyond, including playing venues in Berkeley and Oakland. The couple’s robust profile has enabled them to fund their EP through a successful crowdfunding campaign—a rare feat for an artist without previous releases.

One of the biggest lessons of Brittany and The Blisstones is it’s never too late. It’s never too late to pick up an instrument. “Brittany just had her first piano recital since the second grade,” Reid marvels. And it’s never too late for love. Brittany says: “We got another chance at love, and rediscovering who we really are as people. It’s been such a beautiful restart.”

Listen to "Some Times" here:
New signing & release !! Danish label and music publisher is signing Los Angeles, California, US artist Sam Ortolano and his project PEACEARTHOPE (pronounced peace, earth, hope) to Sublime Exile Recordings & Little Devil Island Music.

Fans of great guitar virtuosos like Al Di Meola, Paco De Lucia should really listen to this fantastic musician.
PEACEARTHOPE is Sam Ortolano. Highlighting his deep passion for all things guitar, the group, allows Sam to write, record, produce and perform original music that is all his own. His love of World music along with his vast background in playing many different musical styles is the foundation by which a unique hybrid was created.

A Los Angeles-based guitarist, Sam started playing at the age of 5 and has never stopped. In his early teens, when his friends were all listening to pop music, Sam discovered the world of the Mahavishnu Orchestra, Shakti, Chick Corea, Return to Forever, Allan Holdsworth, Paco, John and Al, and Pat Metheny. He was immediately moved by the creativity and inspired by the virtuosity. From that point on the guitar became the centre of his universe, practising up to 8 hours a day, with a thirst for knowledge and a drive to be the best guitarist/musician he could be.
Sam has spent his professional life performing with various groups as well as leading his own bands. Covering a wide spectrum of musical styles, he has enjoyed playing rock, jazz, fusion, pop, and progressive metal with multiple studio recordings being released in each genre. Sam has performed hundreds of shows up and down the west coast as well as having extended residencies as a solo guitarist at a number of bars and restaurants in So Cal. During the pandemic, he used the isolation to his benefit and transitioned to being a solo artist full time. With that transition came the advent of PEACEARTHOPE, a showcase of Sam's acoustic guitar music, featuring Afro-Cuban, Middle Eastern, Indian, and Latin beats and melodies. An initial release entitled "Speed of Sound" is a collection of 10 intensely passionate compositions with beautiful melodies and intricate rhythmic arrangements to be released on March 23, 2022.

The goal of PEACEARTHOPE is to create music that inspires listeners to think outside the box, never settle for the norm, and take an active role in the community that is the world. At the same time, free your mind and spirit, laugh a little bit, love a lot, and dance, dance, dance!


Lasse de Flon
Sublime Exile Recordings
Copenhagen, Denmark
An Achievement
When I submit or release music to various sources I can honestly say that I never really expect much from doing so. I don't have much of a fan base or followers, yet somehow my music is reaching top 100 or top 40 lists. I create, record and share music simply for the joy of doing so and because I feel that the world needs more music that is more, dare I say 'peaceful', especially in these current times.
Getting my music in a top 40 list is one thing but, having an album and single on a nominee list is exciting, humbling, a great honor, and inspiring.
OneBeat Sahara 2022 I am pleased to announce my participation to the OneBeat Sahara 2022 Program !
OneBeat brings musicians (ages 19-35) from around the world to a region of the U.S. for one month each Spring and Fall to collaboratively write, produce, and perform original music, and develop strategies for arts-based social engagement. OneBeat begins with an opening residency, when Fellows collaborate to create original material, record new musical ideas, and incubate their projects. OneBeat Fellows then go on tour across a region of the U.S., performing for a wide array of American audiences, collaborating with local musicians, and leading workshops with youth and community organizations. During the month, each OneBeat musician also sets out their plans for the future, further developing projects in their home countries that embody the OneBeat mission of collaboration and engagement.
Offical page:
In his uniquely intimate style, Will Ackerman plays all guitars on his newest album of guitar instrumentals, Positano Songs, with aural color added by some of his close friends including Charlie Bisharat (violin), Tom Eaton (bass and piano), Eugene Friesen (cello), Noah Wilding (voices), and Jeff Oster (flugelhorn). Listeners travel to Ackerman’s Positano while listening to this collection of 10 songs, his fingertips sharing memories in soothing patterns. Each imaginative composition unfolds gently as we roam this charming Italian village by the sea. Instrumental flourishes deepen each piece, whether it is the memory of his wedding, a tribute to the sea, or the memory of a dear friend.

Will Ackerman was born with four names, two of which he shed over the years. He was adopted into the Ackerman family when he was 5 days old. His adoptive father was an English professor at Stanford University and his mother took her life when Will was 12.

Will then went across the country to a prep school in Massachusetts, returning to Stanford University only to drop out with 5 units to go. For reasons still unknown, Will decided he wanted to be a carpenter and ultimately became a rather good one and worked his way up to being a general contractor.

Will had been introduced to the guitar by his next door neighbor, Michael Kilmartin, when he was 12. Will was the weakest link in a less than stellar band playing mostly 60s hits rather poorly. But it was fun. It should always be fun.

While at Stanford, Will had put down the electric guitar and picked up an acoustic one.. a rather nice Guild guitar. He would play in stairwells and various reverberative spaces, but what he was playing no longer had a name. He just played whatever sounded right in the moment and he also discovered that there was something magical about throwing away even the most basic things about a guitar.

Everyone knows that the guitar is tuned E A D G B E, but Will (for reasons either brilliant or lazy). the latter being the primary consensus) made up some crazy tunings with notes almost randomly selected in the moment. Will thought he was the only guy in the world doing this until he was turned on to John Fahey and Robbie Basho on Takoma Records. While those guys used a few open tunings, Will used more than a hundred of them.

At some point, friends said he should make a record so he did.

It was a community effort: friends stepped in. His friend (still a dear friend) Gail did the design of the cover, another of Will's friends worked in a print shop and Scott Saxon, the engineer who recorded Will's music, had a bunch of plain white album covers that ended up with the design glued on to them. The minimum order that the record pressing plant would allow was 300. Will believed he would have 237 of these in his closet for the rest of his life.

This is where it gets interesting. This first record, In Search of the Turtle's Navel, was being sold in only one place on the planet, the Plowshare Bookstore in Palo Alto. Leaving the Plowshare one day Will literally ran into Michael Kilmartin (then next door neighbor who had first put a guitar in Will's hands). Will dragged Michael into the store and handed him a copy. That very night Michael called Will and told him that he loved the record and asked for 10 more.

Happy to oblige, Will handed over 10 more. Michael called a week later to explain that he was head of radio promotion for Fantasy Records (which made him arguably the most powerful radio promo guy in the world as he was then promoting Creedence Clearwater Revival). The ten records had been sent to 10 major radios stations across the country and heavy airplay was being reported by all of them.

Will's first paying concert was a sold out show at the Seattle Opera House.

Will's cousin, Alex de Grassi, was working with Will as a carpenter and was playing insanely brilliant guitar stuff, so it only made sense to have him make a record too. Will decided to call the label Windham Hill Records. His building company was named Windham Hill Builders so his business card showed both.

Will met a wonderful guy who played some great guitar, and who also played the piano. So they made a record called Autumn, and the world was introduced to George Winston. It continued like that for a long time, and it was beautiful and miraculous. Windham Hill became one of the most successful independent record labels on earth. Will was awarded 27 Gold and Platinum Records in the US and overseas.

Will sold his share of Windham Hill in 1992, having tired of being part of the corporation it had become. He moved back to Vermont and lives there to this day, recording and producing new artists at his Imaginary Road Studios in Windham County. He works with his dear friend and engineer/co-producer, Tom Eaton.

The walls are covered with Gold and Platinum Records. GRAMMY® nomination awards and a GRAMMY® for his RETURNING CD sits on the windowsill looking out over the West River Valley. He is currently nominated for a GRAMMY® Award for BROTHERS, an album by Jeff Oster, also featuring Tom Eaton. In 2013, Will was very flattered to receive the first ZMR ( Zone Music Reporter) Lifetime Achievement Award.

Positano (Campanian: Pasitano) is a village and community on the Amalfi Coast (Province of Salerno), in Campania, Italy, mainly within an enclave in the hills leading down to the coast. Will Ackerman has been visiting Positano, Italy for decades, that marvelous space has always felt like a home away from home to him. Many musicians have spent time in Positano, legend has it that Jagger and Richards wrote "Midnight Rambler" one night while making the rounds through the local disco scene as tourists, and Texan troubadour Shawn Phillips lived there for many years. Author John Steinbeck wrote about the local color in this article for Harper's Bazaar in May of 1953: "Like most Italian towns Positano has its miraculous picture. It is a Byzantine representation of the Virgin Mary. Once, long ago, the story goes, the Saracenic pirates raided the town and among other things carried away this picture. But they had no sooner put to sea when a vision came to them which so stunned them that they returned the picture. Every year on August 15, this incident is re-enacted with great fury and some bloodshed. In the night, the half-naked pirates attack the town, which is defended by Positanese men-at-arms dressed in armor. Some of this fighting gets pretty serious. The pirates then go to the church and carry the holy picture off into the night. Now comes the big moment. As soon as they have disappeared into the darkness, a bright and flaming image of an angel appears in the sky. At present, General Mark Clark is the sponsor of this miracle. He gave the town a surplus Air Force barrage balloon. Soonafter, the pirates return in their boats and restore the picture to the church, and everybody marches and sings and has a good time."
Famous for its spectacular setting, this vertical town is a resort destination and international fashion center. For Ackerman the music tells a personal story. "It is where Susan and I chose to be married, and a part of my heart will always live there. One of my dearest friends is Carmine Pallone, whose family has lived in Positano for generations. I’m on a first name basis with a lot of people there, and at the very least I’m someone who encounters many recognizing smiles and ciaos as I’m walking up and down the maze of a billion stairs one must traverse throughout this mainly vertical town."
At long last, his newest album is finally coming out after taking 7 years to make. Co-producer Tom Eaton and Will have worked long and hard to create it. The sound is all lush and uplifting instrumentals, played on steel stringed acoustic guitar music, using fingertips in soothing patterns, imaginative and inventive breezes of beautiful melodies creating or discovering a completely unknown landscape. 
Positano is famed for its lemon goodies, limoncello, lemon marmalade, lemon cream liqueur and more! Hospitality and cliffs with head-spinning views, from prehistory to the caves of the Mesolithic; from the Greek era to the myth of the Sirens, to the Roman phase, with the villas of the bay of Positano and the Gallo Lungo, the wrecks in the sea and the archeological elements reused. Anyone who considers Positano properly inevitably ends up with a view in their head, of the Positano fashion, the beaches of Positano and the amazing sea of the Amalfi Coast.
Traveling without moving, floating on vibrating strings above a hollow chamber in the guitar body, the fingers of the player acquire greater voice and importance, which together with the very lively Windham Hill tradition, intends to represent in forms of art and culture, a community aware and proud of its past, enjoying a fusion of cultural influences so prosperous and have resulted in an art that, even today, demonstrates a high level of ingenuity and passion. Cautiously, you take one step closer to see in order to get a better view of his hand positionings.
A mix of the charming, iconic, and modern, with dreamy layered and intricate cycles, building and creating variations as they spiral slowly, "Nighttime in the Chapel" (3:17) sets the mood for the album, the chapel in the village of Nocelle, a celebration of parlor and 6 string guitars as well as a story of romance and happiness; anticipating a wedding, a natural blending of two people, two families each with a shared rich history, culture, cuisine, and other elements. Next, the guitar is joined by violin and ethereal vocals, "Our Wedding Song" (4:05) is a very personal invitation expressed with the essence of guitars, violin, voices, and bass.
Legend has it that the three islets of Li Galli, set just off the shores of Positano and often referred to as the "Sirenuse", were inhabited by Sirens who attempted to seduce with their song all those who sailed nearby. "Did I Dream This" (5:02) is a slower meditation, with lots of pauses, and some ethereal vocals hidden in there with the guitars, cello, piano and bass
Wine is also a big part of Italian culture, and the country is home to some of the world's most famous vineyards. The oldest traces of Italian wine were discovered in a cave near Sicily's southwest coast. Family gatherings are frequent and often centered around food and the extended networks of families, with a special lemon dish after a course of delectable fresh cuisine arriving at your table. This is time to enjoy "The End of the Day" (5:44) and as the slow pace drifts along, reflective guitars, violin and voices, you become transported in a way you have never been transported before.
In the next track, "For Carmine" (4:40) know that life is a powerful thing in a lot of different forms, haunting interweaving melodies that pause and wander majestically, beautiful and miraculous parlor guitar and 6 string guitars with cello and bass, creating a rich chorus effect.
The exceptional architectural stratifications found at Positano allows the reading of two thousand years of history. Italy is known as Il Bel Paese (The Beautiful Country), and one of the most recognizable countries on any map. The arte (arts), famiglia (family), architettura (architecture), musica (music), and cibo (food) are all important aspects of Italian culture. Italian culture is the amalgamation of thousands of years of heritage and tradition, tracing its roots back to the Ancient Roman Empire and beyond, steeped in the arts, family, architecture, music and food. "This is Where It Begins" (4:42) proceeds at a moderate pace, cycling through the various instruments in combinations of guitars, violin, flugelhorn, piano and bass.
Positano was a relatively poor fishing village during the first half of the twentieth century. The first evidence of a settlement in Positano dates back to Prehistory, more precisely to the Upper Paleolithic in which the "Grotto La Porta" was frequented by peoples of gatherers and hunters. The first archeological evidence dates back to the first century BC, when luxurious Roman villas were built on the coast of the Sorrento Peninsula. Positano has been a holiday resort since the time of the Roman Empire, as evidenced by the discovery of a villa in the bay. Typical are the many staircases that from the top of the village connect the upper districts with the valley area. The main beaches are Spiaggia Grande, Fornillo, La Porta, Fiumicello, Arienzo, San Pietro, Laurito and Remmese, some of which can also be reached by sea.
In Greek mythology, it is believed that the cliffs above the Tyrrhenian Sea housed the four winds kept by Aeolus. The Tyrrhenian Sea derives its name from the Tyrrhenian people, a non-Greek people largely considered Sea People. The Tyrrhenian Sea still is an important trade route linking various Mediterranean regions, several ports and harbors are located along the coast, including Palermo, Naples, Trapani, Salerno, and Civitavecchia. "The Tyrrhenian Sea" (5:55) is a smooth instrumental, guitars, cello, piano and bass portraying the shimmering light reflected on the vast water, with slow rolls and no whitecaps today, the vista goes soaring on forever.
Summer is a magical time to seize the day and soak up the sun at Fornillo beach, just imagine the splendid sight of panoramic Tyrrhenian Sea views! "Passing Baldo's Tower" (5:38) is your assurance you are headed in the right direction to a hidden beach that only the locals know about, where swimming and sunbathing is very popular. Take a dip into the cool crystalline waters or stretch out and sunbathe, and at the end of the day, you'll leave with a golden glow.
The Italians take time for everything. All will be fine in the end with a little patience. It is a way to live more consciously and slowly, to bring down stress. This is what we call mindfulness, the years go by and the light sweetens. "For Giovanni" (4:52) features guitars, violin, voices and bass.
Will's closing solo is a testament to Positano's rich history and culture, the brilliant yet calm sound of a fond memory. To know exactly where these tunes are coming from, you slowly open your heavy eyes, stirring dreams and wishes towards a glowing future, "I Had To Go There" (1:34). This is guitar music for every moment, when all aspects of life are valued and celebrated, including spending time with family and friends, eating and drinking well, and appreciating beauty in all its forms.
From scenic hiking trails and pebble beaches to special restaurants and artisan specialty shops, Positano has it all, and this music is a testimonial to the particularly bright colors and soothing vistas, a dream place that isn't quite real when you are there, you take one of the paths leading to the tiny mountain outposts above Positano. Remember to cherish every moment with your loved ones, because tragedy can happen at any sudden moment. If there were one most important thing to do, it would be to explore a passion into your life, and enjoy such fine music equally at home in a classical concerto, a jazz improvisation, or a children's lullaby, something to fully savor and to relieve stress. Daily musical inspiration isn't just nourishment, it is life.
1 Nighttime in the Chapel
2 Our Wedding Song
3 Did I Dream This
4 The End of the Day
5 For Carmine
6 This is Where It Begins
7 The Tyrrhenian Sea
8 Passing Baldo's Tower
9 For Giovanni
10 I had To Go There

Our CD We recorded Circles of Compassion together in one room without headphones to allow spontaneous interaction which is so important to the way we sound.
You’re Ridiculous!
This music was inspired by my dear friend, Jeni Howland, after she told me I was ‘ridiculous’. I thought about that for a second and then said, ‘thank you very much’. I love to make people laugh so sometimes I do say ridiculous things. Listen to the end to catch the lyrics!
Circles Of Compassion
I wrote this tune in 2017 in response to some horrible news from another part of the world. I found the text by Albert Einstein, here read by Benedict Perkins, that conveyed the message I wanted to get across very succinctly.
Chloë’s Big Adventure
Chloë Jacquet, a published poet, was the inspiration for this title. It was simply a description of how our collaboration felt. I first saw her perform her poetry as part of an International Women’s Day event and was moved by her passion for telling it how it is. I invited her to collaborate with us and was blown away with the power of her poems about the inspiring people she wrote about.
Rachael Heather (Poem by Chloë Jacquet)
We usually work from a melody with chords or sometimes specific voicings or rhythmical figures. This music was improvised in the studio in response to Benedict’s performance of Chloë’s poem. I wanted to show another side to our musical approach. We recorded this in one take. I love our finished track as does Rachael Heather.
Who Are You Today? - (No.7)
This is one of 12 different pieces, with the same title, attempting to illustrate different personality types. It’s also my debut as a lyricist as I prefer to work with writers. You’ll have to listen to appreciate my lyrics. I hope you enjoy them!
Click Here To Prove You Are Not A Robot Takes on New Sounds in EDM Bill Boulden, or Downupright as they're artistically known, just released their debut album, 'Click Here To Prove You Are Not A Robot.' It consists of 10 songs, with only 3 originals from Downupright, "Click Here To Prove You Are Not A Robot," "Dirty," and "Wallow." These songs are then remixed in collaboration with other artists in the industry, like Arkstar and code_pig.

"The entire album looks at three different takes on depression, anxiety, and frustration," shares Downupright. "The songs opt out of traditional verse/chorus structure to instead go on frequently shifting and mutating journeys that defy conventional arrangement."

The overall sound of each song is different and reflective of these themes. The first, "Click Here To Prove You Are Not A Robot," has more of a pop and commercial feeling while it explores identity. "Dirty" is more EDM and industrial and takes on running away from someone who shows you who they are, usually going against what you thought of them before. The last song "Wallow" takes on more of an electro-rock sound and tackles depression, specifically the feeling depressed people get in their sickness that they love feeling depressed and wallow in their pain.

"This is an attempt to invent The New Sound," says Downupright. "With heavily processed vocals coming into vogue thanks to the influence of hyperpop, there is room to combine them with a hard-hitting sound that brings together industrial rock and EDM influences."

Listen to Click Here To Prove You Are Not A Robot here:
Swahili Opera Ali Hugo’s third single from his Afrodisiac EP is charting new territory once again. Hugo is no stranger to experimenting with different genres of music, with this new song titled “ Bora Ninywe Sumu” or “The Poison Song” being a first of its kind in the genre of Swahili opera. The song was penned by Hugo’s grandfather Iddi Farahan. The poison song has a similar theme to that of Romeo & Juliet except in this opera, love is not reciprocated and poison seems like a gracious solution to ending the pain of heartache Hugo explained. Hugo is under no illusion that he has succeeded in convincing critics that he is an exceptional Opera singer. When asked why the song was included to be part of the afrodisiac project, Hugo responded with “ there are a few reasons why I wanted to do poison. First of all, I know that I’m a pop singer and not opera but I think that opera is such an important genre that non-European cultures should seriously think about adopting it. Belief Records research team shows that no such attempt has been made by any musician from the Island of Zanzibar where Taarab music originates and I was ecstatic to be the first artist to lay the groundwork for others to follow. So when recording the vocals I was more interested in setting a standard for Swahili operatic phrasing instead of doing vocal acrobats”. The second reason Hugo chose to experiment with opera was to take advantage of the technology provided by PreSonus and experience what it feels like to use the PreSonus Symphonic Orchestra expansion package.

“ I may feel apprehensive as an opera singer but when it comes to arranging the symphony orchestration, I stand proud by my arrangement of this beautiful piece of work” Hugo stated. In addition, Hugo said “It’s unbelievable what PreSonus Symphonic Orchestra 2022 has enabled me to create! A sound similar to that heard from the Vienna symphony orchestra, for example, it would be nuts for me to pass up an opportunity to do something like this. The PreSonus Symphonic Orchestra package contains an amazing 14 gigabytes of content including a library of various instrumentation, for example, a contemporary strings library that offers a different ambient character for modern productions and all of this is fully integrated into Presence XT.

“Bora Ninywe Sumu” release date is Feb 24/2022 and is available everywhere.