I've been extremely busy, these past few months between the online courses in studio production and studio engineering, i did find time to produce some new works , and i must say that those classes are paying off.. covid19 was a bit of blessing in disguise cause during the month long lock down i took to the studio and recorded over 12 songs , had the time to have polished and ready for the waves . This only the start of the new year and I've already released 2 songs and a third one will be out the month end so be on the look out for more hot new singles from Cha li x & the X Music House...
Spotted Peccary Music has a new album of instrumental space music created using electric guitar, synthesizers and theremin, a series of explorations of distant territories. Free-falling objects are moving along locally straight paths in curved spacetime, influenced by dark matter, quantum gravity, supergravity and an array of gravitational singularities. What you will hear is a dialog between two inspired friends, guitar and synthesizer, taking us on a journey through frightening vertiginous expanses. Gravity is responsible for many of the large-scale structures in the universe, and Strange Gravity contains wordless dreams beamed from the otherworlds, bringing a cargo of ideas and mysterious atmospheres, with some new experiments for the positioning of sounds in the wilderness. There are extra-fast stars, an occasional flyby anomaly, at times you can see that some stars at the edges of galaxies are orbiting faster than should be possible. The umbrella girl returns. This is the second collaboration of Marvin Allen and Craig Padilla, the first album is titled Toward The Horizon and came from Spotted Peccary in early 2019. Umbrellas offer portable shelter, durable enough for ordinary gravity and ordinary falling rain, but there is more of a challenge when the strange forces of the wind change the direction that the rain moves. Strange Gravity continues building on the frightening vertiginous depths and the presence of gigantic flying objects overhead discovered on the first album. This new starship is headed for the unknown, to mystery spots and places around the cosmos said to contain gravitational anomalies, where the oldest laws of nature appear to have been turned off. The album releases everywhere on January 15, 2021, on most platforms, in formats listed here: https://orcd.co/strange-gravity-pre Strange Gravity is a compelling example of what is possible when two gifted musicians from different musical backgrounds are pulled into a common orbit and develop a creative synergy. Riding the waves of inspiration, the duo deliver an honest and spellbinding blend of ambient electronic atmospheres, Berlin school sequences, and classic rock flavored guitar textures. Interspersed with introspective moments – and even a few memorable melodies – the music on Strange Gravity moves through an array of music moods that range from hypnotic and dreamy, to powerful and epic. Swirling electronics, pulsing synthesizers, soaring guitars, and hypnotic rhythms twist and turn throughout the album’s 65 minutes, gliding through the stratosphere with an effortless freedom. Craig Padilla & Marvin Allen’s Strange Gravity is the perfect follow-up to their debut album Toward the Horizon (SPM-9086). In an imaginative review, music journalist Robin James describes the sound as “a dialog between two inspired friends, taking us on a journey through breathtaking vertiginous expanses, the inertia builds slowly until the warping phenomena kicks in and a flock of creatures, perhaps mermaids or tiny bizarre aliens, continue their flight in the direction of the horizon.” Allen reveals that “The sound of the album is a blend of Craig's Berlin School and ambient tendencies connecting with my bluesy classic rock leanings. The title, Strange Gravity, relates to the way Craig and I are drawn towards a common center.” “Strange Gravity is a continuation of what we began with Toward the Horizon about the story of the Umbrella person, and how she represents all of us regarding how we gravitate towards others,” says Padilla. “The music is a natural progression from the first album to this one with more ambient rock music filled with melodic sensibilities and experimental ideas.” Strange Gravity was mastered by Ben Cox, and is available now for physical purchase in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats. The CD version of Strange Gravity arrives in a factory sealed 6-panel gatefold package that includes vibrant artwork, liner notes, a 4-page booklet, and exquisite package design by Daniel Pipitone. Tracklist: 1 Strange Gravity (18:46) 2 The Revelation (06:47) 3 Friendship (11:00) 4 Fractured Illuminations (09:40) 5 All Around Us (18:19) Visit Spotted Peccary's official website for new, limited edition 35th Anniversary merchandise, as well as its new free sampler, 34. Watch the label's 3+ hour TRANSMISSIONS livestreams on YouTube, and listen to its artist-curated IMPULSE playlists on Spotify. About Craig Padilla: With more than 40 releases over the course of his prolific career, Craig Padilla has proven to be a driving force in the current electronic music scene. Never letting technology overcome the humanity in his compositions, he creates electronic music that is rooted in tradition while still sounding new, interesting and fresh. Craig has always endeavored to create engaging musical landscapes as experiences to be treasured and played indefinitely. About Marvin Allen: Marvin Allen is a northern California based multi-instrumentalist, singer-songwriter, performer, and music educator. As an accomplished musician, he has been lending his talents to numerous jingles, recording sessions, and short film soundtracks for many years. He also co-founded the Shasta Blues Society and continues to mentor many talented youths. His 2019 collaboration with longtime friend Craig Padilla is Allen’s first foray into the world of ambient electronic music. About Spotted Peccary Music: Portland-based Spotted Peccary Music is North America’s finest independent record label with a focus on deep, vast and introspective soundscapes. For over three decades, the artists of Spotted Peccary have been on a mission to develop, produce, publish and release ultra-high-quality, deep-listening experiences that engage the listener and exceed expectations. Every release is carefully prepared in a variety of high quality formats from MP3 to high-res studio masters. Explore more than 165 titles and 45 artists at www.SpottedPeccary.com and www.AmbientElectronic.com. Links: Spotted Peccary Album page: https://spottedpeccary.com/shop/strange-gravity/ Album Unboxing Video: https://www.youtube.com/watch?v=lb_K16f3cOA SPM Artist page: https://spottedpeccary.com/artists/craig-padilla-and-marvin-allen/ Bandcamp: https://ambientelectronic.bandcamp.com/ Instagram: https://www.instagram.com/spottedpeccary/ Spotify: https://open.spotify.com/user/spottedpeccary
Shunia is a duo comprised of Lisa Reagan and Suzanne Jackson, the word “shunia” (shoon-ya) means a stillness of power -- quiet, unmoving, and totally focused. The core of the music is the synergy of these two voices in combination with various instruments, and on this, their second album, there is the voice of Hassan Hakmoun on several tracks. The sound is a blend of chant, mantra and opera, always positive and uplifting. The music eminates empathic confidence, creating a sound that succeeds at reducing stress, promoting relaxation, and improving emotional health. To create their self-titled album of transcendent music and melodic harmonies, Shunia co-composed with Tony Award-winning producer Jamshied Sharifi. The album takes the listener through mantra melodies, energetic vocals, and dynamic compositions worthy of a feature film score. They are joined by renowned Moroccan artist Hassan Hakmoun, the godfather of Gnawa music, performing on two of the tracks. On the making of SHUNIA, Lisa Reagan says, “As musicians whose lives have been enriched by chanting, we wanted to create a beautiful garden of sound where the chants could come alive. The mantras that we are chanting on this album have been chanted for thousands of years. We thought about the unique energy of each of these mantras and created music that would be in harmony with it. Our hope is that people will sing and dance along with this album because it profoundly moves them.” There is indeed a sense of deep focus present in each track on SHUNIA, which invites listening on dual levels. On one level, listeners are entertained by stunning compositions, virtuosic playing, and the duos’ rich vocals. On another level, one can focus on the wisdom of each mantra and lyric as it is expressed with deep conviction and impressive clarity. A page on the Shunia website dedicated to "mantra" further explains the meaning of each track. Shunia's music is recommended for group classes or personal practice of yoga, and for simply gathering inspiration to move into a healthier and more enlightened future in 2021. In advance of the full album debut, four tracks were released with inspiring videos, including "Akal" (June 2020); “Sa Re Sa Sa” (October 2020); “Breeze At Dawn” (November 2020); and “Alleluia” (December 2020). The duo's high-quality, uplifting videos are available at this YouTube location: https://www.youtube.com/channel/UCVvsZECVFyfF5OFCS5VWJCw Repetitious chanting allows one to focus on breath and leads listeners to deeper relaxation and a stronger connection with life. The arts have a unique power to heal and transform. We want to be happier and at peace within ourselves. We are all interconnected on the planet and ancient religious ideas are now being proven by contemporary science, repeating the same phrase over and over again has a beneficial effect on body, mind and spirit. There is a theoretical potential for conflict between contemplative Christian faith and Yoga, Tai Chi, and related disciples -- the yogic path and the Christian path. Shunia has successfully merged these two sacred life paths creating universal meditations for healing, and simply letting your mind let go of all its temporal concerns. The first mantra on Shunia removes negativity from within, awakening the infinite creative energy to burn away obstacles to achieving higher consciousness. Sa is the Infinite, the Totality, God. That Infinite Totality is here, everywhere. That creativity of God is here, everywhere. "Sa Re Sa Sa" (3:02) features the voice of Hassan Hakmoun, which is joined by the two choral voices of Jackson and Reagan, creating an empowering and invigorating feeling, upbeat and positive. A bright energetic orchestral mantra that helps you conquer the wisdom of the past, present, and future. Persian poet Mewlana Jalaluddin Rumi (1207 - 1273) wrote the words for "Breeze at Dawn" (4:12), a mystical sound for a poem of romance with sweet breezes coming from the darkness before the dawn, repeating the words, spoken low by Hassan Hakmoun and joined by the choral voices who sing the lyrics. "The breeze at dawn has secrets to tell - Don’t go back to sleep. You must ask for what you want - Don’t go back to sleep..." Everything is vibration, observes the spirit of Shunia. All the energy in the universe exists in different vibratory levels. Combining music with meditation can deepen the positive effects of both, and bring about greater stress relief. Bringing comfort, solace, reassurance, peace, composure, and quietude serves to uplift humanity through the oldest universal teachings, foster the creative spirit and bring a new awareness to the voice and body connection. Shunia continues to foster a mindset promoting meditation, relaxation and stress release which are all so important for our health. Shunia merges the art forms of chant and opera and promotes the body’s own natural healing processes. Universal Energy exists around us, all of the time, nature gives us everything we need to overcome the distance between God and humans. When the duo Shunia discovered the hidden dimension and power of singing chant music, they wanted to share this profound experience. You have a physical body and an energy body. The chakra system is a main conduit for energy. In order to live at our highest potential, our chakras must be aligned. If we want to make changes in our lives, we have to change ourselves. In the sharing process, each faith must maintain its own unique identity and integrity, to bring together the voice and body vibration as one and develop strength, balance, harmony, and flexibility. The music of Shunia provides a way to calm the monkey mind and to journey towards a totality of being, honoring eternal change. In an article by Lisa Reagan in LA Yoga Magazine (December 15th, 2020) the story of this collaborative project is revealed. "It goes all the way back to when I first started going to kundalini yoga classes many years ago. They were great, but often had subpar music playing on a cassette that we all chanted along with. As a classically trained musician, I often found myself distracted by some of the music I was hearing. As years went on, I did find a couple of chant artists I liked, but for the most part the music left me feeling unsatisfied. However, there was one artist, Singh Kaur that I loved. It was such a joy to hear her sing the mantras so beautifully. For me, it elevated the whole experience of chanting. I listened to her for years. When I chanted with her, I felt happier. I also recorded my own versions of the mantras and would chant along with my own creations. One day I ran into a musician producer friend of mine, Thomas Barquee, in Santa Fe. He and I talked about how great it would be to work together. So, we decided to make an album. It started out as a typical songwriter and producer situation. He was going to produce some songs I had written, but that’s not what ended up happening. We only worked a few days together before he had to leave for a European tour, so we didn’t make a lot of headway. While he was away, I was visiting my friend Suzanne Jackson, whom I had known for many years from college and The Washington National Opera. We had created several projects together and we were talking about what we were going to do next." Reagan continues, "Every time I meditated with these chants, I always felt a sense of joy, well-being and appreciation for them. There was something in my gut that told me I needed to find the album’s producer and work with him. Finding him was easier said than done, but after a long time searching, I found someone who knew someone that had played on an album he produced with Snatam Kaur, and she made the introduction. Thank God! And that’s how I finally found Jamshied Sharifi. And I’m so grateful I did. I knew Jamshied had recently produced a chant album and it seemed to be something he was really good at. It’s an interesting thing to create a chant album with him. Creating this kind of album is not like a normal exercise of song writing and development. In most songs you tell a story on the verse and then you sing a chorus. But on a chant album, you’re just chanting… Meaning, you say the same words over and over again. So, in a way it’s much more challenging to keep it interesting. You have to use the music to create an atmosphere that transports you. There has to be so much movement and the feeling of ‘going somewhere’ within the energy of the music. This is where having a brilliant composer/producer comes in very handy." Jamshied Sharifi is a New York-based composer, producer, and keyboardist. He has composed the scores for feature films including Harriet The Spy, Down To Earth, Clockstoppers, and Rollerball, as well as contributing music to numerous television shows and independent films. He has produced and/or performed with Paula Cole, Ray Charles, Dream Theater, Laurie Anderson, Hassan Hakmoun, Yungchen Lhamo, Mirabai Ceiba, and many others. He produced Snatam Kaur's album, Beloved, which was nominated for the 2019 Best New Age Album Grammy. Sharifi did some orchestrations for Sting’s Broadway musical, The Last Ship. His orchestrations for The Band's Visit won the 2018 Tony Award. In a review by Kathy Parsons published January 10, 2021 on the blog Mainly Piano, Parsons confides that "I have to be honest and say that I wasn’t sure I was going to like this album, but I ended up loving it. There is so much heartfelt beauty in both the words and the music, that it’s an album that needs to be savored, not just relegated to background music. Shunia is recommended for group classes or personal practice of yoga, or for simply being inspired and uplifted. Close your eyes and let the music transport you to a more peaceful place." SHUNIA is available globally on most platforms today. Physical CDs are available at https://shuniasound.com/ and Amazon. Lisa Reagan, Suzanne Jackson, and Jamshied Sharifi are available for media interviews about the album, and for live guest segments on social media. Physical CDs and a digital Dropbox of the album are available upon request to Beth Hilton at bethhilton@theBCompany.com. Radio airplay requests may be made to Max Horowitz of Crossover Media at email@example.com. Shunia Album Track List Sa Re Sa Sa (4:54) Breeze At Dawn (4:12) Alleluia (6:51) Akal (6:48) Har Hare Han Wahe Guru (6:21) Ang Sang Wahe Guru (6:42) Ong Namo (5:37) Sa Ta Na Ma (8:27) Primary Links: Shunia: https://shuniasound.com/ Spotify: https://open.spotify.com/artist/2zQv6X0oMSlC01mup2lJZ3?si=9mS_kdQCQfiyiDfrZxJP8Q Facebook: https://www.facebook.com/shuniasound/ Youtube: https://www.youtube.com/channel/UCVvsZECVFyfF5OFCS5VWJCw Instagram: https://www.instagram.com/shuniasound/ Twitter: https://twitter.com/shuniamusic
South Carolina-based band Honeypot started off 2021 by releasing their newest single, “Fake News”. Consisting of Frank Hartman on guitar, drums, and vocals and Chris Chamberlin on bass, backing, and production, the band takes influence from classic rock while still having a progressive sound. Honeypot mostly uses their music to comment on social and political topics like the election and human development throughout life. They touch on important issues while still maintaining an upbeat rock style with their music, which I personally respect a lot. “Fake News” was a single originally written in 2018, but in the words of the band, “...now that 2020 and the presidential reign are ending, it seems the perfect send-off to both”. The music video for the song starts off with Martin Niemoller’s iconic poem “First they came…”, a poem that leaves a haunting impression in me to this day. It then goes into the song, which calls out the media and commentates on the presidency of Donald Trump, who is very heavily compared to Adolf Hitler by the song and the video. The song has a very satirical element to it that makes it enjoyable for anyone, even if they don’t really know what is going on in politics. The way the song holds a classic rock sound while still featuring new-age elements like vocal distortion is very impressive and gives the song an edge that other political satires do not have. In a time where talk of politics seems to dominate society, Honeypot definitely shares their opinions in a much more light-hearted way than most others do. They don’t hold back when it comes to what they are thinking, but are still able to make the listener laugh with their delivery. They are insanely clever when it comes to everything they are doing, whether that be with their music or with naming their fanbase the Honeypotheads, which is just amazing. I can’t wait to see what social commentary they make next and how they use their unique sound to do so. Watch the video here! https://www.youtube.com/watch?v=4XyE_cN5ZuY
Canadian JUNO Award-nominated world ensemble Toronto Tabla Ensemble is having a party with some Unexpected Guests in this, their newest album release — available now! Across the release’s seven tracks, the critically acclaimed group of artists weave a variety of instruments, from percussion to bagpipe, piano to taiko, sarod to flute, and more, with their signature sound rooted by the traditional tabla. “This album is a simple one,” TTE Founder and Artistic Director and Roy Thomson Hall Award winner Ritesh Das says. ”Most of the tracks are in very straightforward 4/4 grooves. On our other albums, you had tracks with different time signatures that made it really intellectual and complicated. “I wanted this one to be something that anyone can sit back and listen to and enjoy.” Along with delivering the most approachable songs in their vast repertoire, Unexpected Guests is their latest in a series of boldly collaborative and sonically expansive works. In keeping with its eye-opener title, the immersive and diverse album finds Das and the TTE hosting a party of musical visitors: Enter The Haggis bagpipe player Craig Downie, Japanese Taiko Ensemble Nagata Shachu, singer Maryem Hassan Tollar, violinist Raaginder Singh Momi, flautist Alysha Addetia and more.
Like most others in these challenging times, where gatherings are frowned upon and we are kept detached from our loved ones... Socialising and the entertainment in life that keep us human are hard to come by. Lockdown is the norm. Creativity is now inspired from memory rather than the inspiration of living heady moments in real time. It's hard to write when your heart isn't in it and every day is "groundhog day". My new release "Oh So Mellow (What A Good Day)" was written pre lockdown. Little did I know that the words would take on new meaning with words of optimism as the pandemic ensued. To all of the creatives out there who are struggling through these restricted times. Hang on in there. I wish you success and achievement as the world eventually returns to normal as it inevitably will. When the creative flow is not earthbound by the limits placed on it by society and health considerations and we all get the chance to experience joy once more.
Like most others in these challenging times, where gatherings are frowned upon and we are kept detached from our loved ones... Socialising and the entertainment in life that keep us human are hard to come by. Lockdown is the norm. Creativity is now inspired from memory rather than the inspiration of living heady moments in real time. It's hard to write when your heart isn't in it and every day is "groundhog day". My new release "Oh So Mellow (What A Good Day)" was written pre lockdown. Little did I know that the words would take on new meaning with words of optimism as the pandemic ensued. To all of the creatives out there who are struggling through these restricted times. Hang on in there. I wish you success and achievement as the world eventually returns to normal as it inevitably will. When the creative flow is not earthbound by the limits placed on it by society and health considerations and we all get the chance to experience joy once more.
Canadian Singer-Songwriter Ali Hugo’s love for country music is no secrete. First, there’s the country-oriented tune “You’ll find love” with its thumping banjo from Hugo’s Time Machine EP. To help promote the release of that single on country radio in 2018 in North America, Hugo supported the song by publishing a short story also titled “You’ll find love.” That strategy worked, and the music was a hit, especially in Oklahoma, USA. Next came “Trust in Allah,” one of the singles from Hugo’s album “Hope for the Meek.” “Trust in Allah” is an Islamic Qasida in the genre of Country Music and not what you would expect to hear on your Anghami music app in the Middle East. However, fans from Mauritania in North Africa to the Persian Gulf shores responded positively to that song’s country music vibes. In his latest release, “Easy to Say, Hard to Do,” which has already generated a strong buzz in Alabama (the latest of the North American states and provinces to be part of Ali Hugo’s fan base), Hugo is promoting his songwriting efforts, rather than promoting himself as a country singer. Before the song’s release, Hugo published a TikTok video showing-off his country vocal abilities by covering Loggins & Messina’s “Watching the river run.” With “Easy to Say, Hard to Do,” “ I’m trying to tell the folks in the country music business that this is a great song in the style of 70’s country music, and I’m available for business as a country songwriter” says Hugo. Hugo is not oblivious to critics who question, “who is this guy who comes out of nowhere and thinks he can make music which has a long line of tradition held up by the likes of Alan Jackson, Kenny Chesney, Randy Travis, Reba McIntyre & Paul Brandt to name but a few? But the reality on the ground remains that country music has gone Global. Suppose the North American artists are not interested in the international market and prefer to view country music as a national treasure, n that case, one can’t blame artists with a global following like Ali Hugo who wants to carry the torch of country music Globally one song at a time. “I’m doing the songs which I think my fans would love, and so far, fans both in North America and Globally love the new music,” says Hugo. Hugo is back in the studio working on Afrodisiac, his upcoming Swahili language EP.
Join in on the worldwide adventures of Traveler. For many years now, Scott Jeffers has traveled the world to gather inspiration for the Traveler project. https://scottjefferstraveler.com/travel-blog/
“We’re On Fire In Georgia” is a powerful anthem that will surely resonate amongst Georgia residents. Outlining the political controversy over the upcoming senate election in Georgia, Lynne Revo-Cohen, of I Will Productions sends a message to the GOP and people of the United States. Through story-telling and a fabulous and motivating music video, Lynne Revo-Cohen is fully aware of the impact music can have on our society. With everything that went on politically in 2020 -- the American people are tired of not being heard. Lynne Revo-Cohenn perfectly captures the message of the importance of WHO to vote for and WHAT they stand for. With powerful quotes streamlining in the background, and images from various protests for human rights, this video (and political campaign) truly represents any marginalized people. Both the music video and soundtrack were composed for Jon Osoff and Raphael Warnock in the Georgia Senate Runoff race. This song has successfully turned controversial and touchy topics into a catchy anthem. Revo-Cohen has written music for the Obama campaign, and the Women’s March in 2017 and both Clinton campaigns. Her passion and dedication for social awareness and change has influenced these and various campaigns, but most importantly, the people of Georgia must receive her call to action. Listen to Lynne Revo-Cohen, understand the video, and get out there and VOTE! Watch and listen here: https://youtu.be/4t3xmoRzfag
This is to wish everyone a happy festive season, wherever you are, whatever you are doing, and in spite of the coronavirus. The Winter Solstice in the Northern Hemisphere is behind us and we can look forward to the Spring. Meanwhile, enjoy precious time with your loved ones, stay well, and smile...most of all, smile. Peace John
The Brooklyn based, classic rock driven band R Train is back with a fresh take on “Dear Mr. Fantasy” by Steve Winwood and Traffic. R Train blends hair rock sound with arena rock energy to spin new life into an age old classic. In fact, you might mistake this cover for an original — filled with supernatural guitars, powerful drums, and funky vocals, R Train’s new version feels nostalgic in all the right places, yet entirely modern. R Train consists of vocalist/guitarist Jeffrey Black, drummer/vocalist Mike Annese, and bassist/harmony Denny Lee. The band has been playing together since 2019, but their long careers in the industry shine through their music. They released their single “Take a Ride” last month alongside a virtual livestream show benefiting The National Fallen Firefighters’ Association. “Dear Mr. Fantasy” similarly drops hand in hand with a music video, a fun homage to Mr. Fantasy who has the power to “distract us from darkness, gloom, and fear that presently exist” as the band members have remarked. Even through a glowing, blue light heavy screen, R Train’s latest releases manage to fill listeners with energy. Visit the band’s Spotify or YouTube page to accompany R Train on the epic journey that is their cover of “Dear Mr. Fantasy!” Watch and listen here! https://youtu.be/fF82_EUqpVY
After an almost 10 year hiatus, Ricksha Radio has returned with their second single in the span of only a few months. With it’s rockstar synth and acoustic guitar riffs, Bob Dimick was able to channel an early 90’s vibe that’s been missing from today’s radio hits. According to Dimick, “‘Magic Of The Moment’ is about knowing - when it is actually happening - that we are experiencing one of those beautiful, fleeting, magical moments in life that we will never forget. For no particular reason, we all look back on times and places that only lasted for an instant yet they are indelibly etched in our memories.” This song truly serves as a reminder to live in the moment. “Magic of the Moment” is funky and fresh - yet there’s a comfortable familiarity about it (thanks electronic keyboard!). It’s upbeat and positive, and an excellent song to start your day to. We are excited about Ricksha Radio’s return to rock - and look forward to hearing more! Stream "Magic Of The Moment": https://open.spotify.com/track/09KlP5O7lEMjtk7O4TbkUG?si=dduauh4WToC3GpnCUtmrRg Find Ricksha Radio online: https://ricksharadio.com/ https://www.facebook.com/Ricksha-Radio-172169332827775 https://www.instagram.com/ricksharadio/ https://www.youtube.com/channel/UC45bh07leKiAnDAQLN955sw
VAVÁ is Los Angeles based, Brazilian-American singer-songwriter, guitarist, and composer, Vanessa Wheeler. Her 2018 release, “The Other Side” blended guitar-focused, progressive pop and rock music that garnered attention from record labels, led to tours with The Dear Hunter and The Family Crest, and shared stages with such Angeleno music illuminati as Lauren Ruth Ward, Adam Levy, Mason Stoops, Emily Elbert, and Dillan Witherow. Listen in here! https://open.spotify.com/track/09eKV6s40fHdi9xSPlSURj As a songwriter, Vanessa has been finding her voice in the pop idiom in recent success co-writing with The Voice’s Jackie Lipson on her song “Someday”. Similarly, upcoming releases like, “When the Lights Go Out” take a more earnest turn towards pop while incorporating her eclectic influences of Brazilian music, Black American music, and progressive rock. Her music has been called “genre-smashing” and “jaw-dropping” (Buzzbands LA), and “the offspring of musical genes taken from Sia, Florence, [and] St. Vincent” (Blurred Culture).
Amelia's Dream just released their 6th full-length release on November 27th, 2020 “Everybody's Got Something" featuring 14 original songs including the single “Hero “ which was released with a video in May 2020 as a Thank you to the front line workers in NYC. The video featured actual front line heroes in action. "Everybody's Got Something" the title song was performed live at the Apollo theatre a few weeks after it was written late last year but never recorded until now. Most feedback from fans has been how healing “ Everybody's Got Something “ has been so we felt it was important to record this and share this with the world now. Especially now. Listen in here! https://open.spotify.com/album/0LMgedqnY58Q1les2KNlgV Amelia's Dream is a duo based in New York City. Amelia's Dream consists of songwriter/Singer Amelia S. Gewirtz & musician/producer/songwriter Harold Stephan. Their original music has been featured on multiple TV shows and movies including Wishmaster 4 ("Garden") Dog the Bounty Hunter ("Broken") season 7, Disney In a Heartbeat ("Trust Your Gut"). "Ballerina" was chosen as the theme song for the web series Good n’Screwed now being shopped in 2020/2021 to transition to a TV series. In addition, their original music has been on various scripted shows on networks including CBS TV, ABC, MTV & Disney.
Eric Selby has been a session drummer for more than 20 years. He’s been named Blue411‘s Drum Thumper “Jimi” Award winner, been nominated for multiple WAMMIE awards, inducted into the Blues Hall of Fame, and has been featured in Modern Drummer for his approach and unique drumming perspective. He’s stepped out from behind the drums and we are all better for it. His vocals are slightly reminiscent of Trey Anastasio from Phish (in the best possible way) but the music is retro and gives us warm 80’s grooves with a little bit of Pink Floyd. We listened over and over and the music feels familiar and yet it’s hard to compare it to any one thing. About “Another Page’s” chorus Eric says: I practice meditation and appreciate the concept of how our lives flow within and without one another. No matter what happens: birth, work, happiness, heartache, death…everything just keeps flowing and moving. The chorus to “Another Page” tries to convey this perspective of: “It’s everything I think of, it floats around in time, just add another page…I like the idea of how our lives are like a script or a book and how we can just add pages as our lives evolve and revolve and, if we choose, we can burn pages, similar to a burning bowl ceremony. If you aren’t familiar with a burning bowl ceremony, it is a transformative ritual usually performed to release something that no longer serves you. I communicate that in the chorus with: “To the ones I’ve ever loved and the ones I wish I could, just add another page, the flame embraces wood.” My advice - just listen and then listen again. You won’t be disappointed Listen here: https://soundcloud.com/eric-selby-9647853/another-page/s-CeHHsrx1i89 Follow Eric here: https://ericselby.com/ https://www.instagram.com/ericselbymusic/ https://www.facebook.com/EricSelbyMusic/ https://twitter.com/ericselbymusic
The strategy of creating music inspired by a particular concept is increasingly becoming difficult to market. Does this mean the death of the music Album? Not necessarily. Through innovative music marketing, concept albums will continue to make an impact on listeners. Thus, each song of the album has to have a marketing strategy of its own. That strategy acts as a sub-strategy to the concept album’s overall marketing plan. Simultaneously, the rest of the album serves as a restrictive agent for the single not to digress away from the album concept by overshadowing other songs from the album — thus avoiding the result of a very successful single from an unsuccessful album. What is different today is the idea that a successful single will attract listeners to discover more music from the concept album containing that successful single. This idea is no longer sustainable in today’s music market. The challenges facing music albums today are the speedy high levels of music consumption, the diversity of music released both independently and by majors labels, and the reality that everyone and their grandmother want to be a famous sensational music star. Add to all of this the speed at which world events are taking place and music competing with other artforms and entertainment. All these make it challenging to sustain listeners’ interests in a particular music album for a long time. Maintaining recurring streams for an album is particularly difficult as streamers speedily move onto the next release list, for example, #newmusicfriday. As has been proven by many of today’s artists, Fordism and the assembly line approach to music production can help artists succeed in a market dominated by high-speed music consumption. That success is in the shape of increasing artist visibility and popularity. However, the nightmare begins when artists realize that fame and popularity do not equate to financial success. In the music business, financial success is in music sync opportunities and publishing. The recent releases of remastered tracks of Deluxe music compilation albums from many established musicians attest to the fact that profitability is in music albums in the long-run. For example, American singer Cyndi Lauper’s album “She’s So Unusual,” released in the ’80s, was rebranded and released as Cyndi Lauper She’s So Unusual A 30th Anniversary Celebration Deluxe Ed Signed CD Priced at around $149.99. The repackaging of such a product indicates that fans pay attention to details, and every bit of an artist’s memorabilia matters. UnitedMasters singer-songwriter/musician Ali Hugo is not one to walk away from the challenges of the modern music industry. Hugo started releasing singles from his successful spiritual pop-rock album “Hope For the Meek” in 2019. The album contains 12 songs written and produced by Ali Hugo. The experience of marketing an album with perseverance in a global music market where the music singles rule is a challenge. Still, Hugo took a multidimensional approach to release music in 2020. while wrapping up the hope for the meek project, Hugo wrote and produced music for his Christmas instrumental playlist, including tracks such as “Teleportation,” a song written after Hugo developed the formula for the macroeconomics of a wormhole [LARC=U= Diseconomies of scale]. Hugo also wrote and performed on his spoken word release titled “Despair.” By releasing singles in between promoting the Hope for the Meek album, Hugo managed to retain the audience’s interest with music unrelated to hope for the meek while sustaining listeners’ curiosity & attraction to the album’s content. At the same time, Hugo managed to attend his record labels music conference UnitedMasters #selectcon2 When asked about his music’s future, Hugo stated, “The bottom line is; I understand that profitability is in my music publishing and music sync opportunities. When I make business decisions related to adding new music to my catalogue, the basis of those decisions is what's best for the Ali Hugo estate in the long run? Today I know that what's best is having the right kind of music catalogue which can generate further profitability to the Ali Hugo estate in the form of the Ali Hugo Deluxe Music box planned for release in 2028.”
New album: Kasper Søeborg & Lars Bo Kujahn: WORD'N GLOBAL (Olafssongs OCD 068) Can now be ordered in Olafssong's Webshop, downloaded from iTunes - and heard on the streaming services. The CD contains the three previous singles "The Indifferent", "Rumi" and HighJazz "and 8 intensive instrumental tracks. Music inspired by Andalusian flamenco fire over Oriental arabesques to Scandinavian coolness. It is instrumental music with both lyrical meditative and energetic explosive moments. A style that Søeborg & Kujahn with a twinkle in the eye calls: Scandaluzian Fusion. Music by Kasper Søeborg & Lars Bo Kujahn. The concept is instrumental music composed and played inspired by poems from Rumi (Jalāl ad-Dīn Rūmī, 1207-1273) and more than 1000 years old Chinese poems. Kasper Søeborg: Spanish guitar - and Gibson Les Paul on a single track Lars Bo Kujahn: Qanoon and percussive effects Nantha Kumar: Tabla Shashank Subramanyam: Indian bamboo flute Chris Poole: Flute Recorded, mixed and mastered in Cyborg Studio, Copenhagen, by Kasper Søeborg Produced by Kasper Søeborg & Lars Bo Kujahn Executive producer: Finn Olafsson Cover cover photo: Shazia Khan - other photos by Kasper Søeborg Cover layout: Torsten Olafsson Musical effects by Lars Bo Kujahn & Kasper Søeborg Produced with support from KODA's Cultural Resources.
In the beginning of this year we received a call from Skuodas district municipality with a proposal to create something for our native region. Donatas and I agreed with a passion and today we want to share with you the result! We warmly hope that this video will catch your interest to visit our region and it’s unique locations! I want to thank director Airidas Janušauskas and his team Turbo for creating this video! I also want to express my gratitude to Skuodas district municipality and their trust in our vision! Donatas Petreikis - kompozitorius / composer Airidas Janušauskas - director (Video agency TURBO http://turbo.video) Arturas Pugaciauskas - sound engineer & sound design Skuodo rajono savivaldybė Video clip - https://youtu.be/XtzOQiELG8w Web: https://www.sauliuspetreikis.com http://www.ltinstrumentai.lt https://www.paypal.me/sauliuspetreikis https://www.patreon.com/sauliuspetreikis
Blended acoustic and electronic instrumental music combining sustained melodic progressive themes and lots of acoustic textures that build and strengthen, using cello, hand percussion, keyboards, guitars and various interesting gizmos. I particularly appreciate the special Norwegian melancholy that stalks the background in places. In the ambient electronic universe, this newest album from the Green Isac Orchestra invokes to my ears a bit of the progressive rock traditions, but without any vocals or virtuoso power-play. I hear actual melodies and tempos, rich acoustic instrumentation mixed with electronics, and even some propulsive crimson riffs at times, all the while residing warmly in the cerebral realm of soothing ambient meditative instrumentals. The album is available from Spotted Peccary Music in LP vinyl format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats. All links: https://orcd.co/b-a-r b a r was recorded and mixed at Frydenlund Studio, Oslo, Norway, where it was mastered by Lunds Lyd, with cover art by Nils Olav Bøe, who did the previous Green Isac Orchestra album cover illustration. You will hear five musicians lending their skills, secrets, and dreams to create together an elegant and intricate instrumental orchestral tour de force. The orchestra includes Jo Wang playing piano, therevox, mellotron, organ, and synths; Tov Ramstad playing cello and electric cello; Morten Lund playing electric guitar, lapsteel, electronics, baritone guitar, and gizmotron; Frode Larsen playing percussion, mallets, and grand cassa; and Andreas Eriksen playing drums, percussion, synth bass, programming and arpeggiations. The album title b a r is a word with a lot of different meanings, variously: a long rod used as an obstruction, for fastening, or as a weapon; a counter where alcoholic drinks are served; a deposit composed of sand, silt, or pebbles in a river; a candy bar; to prevent someone from doing something or from going somewhere; a stripe with colors; a term for the legal profession; a line through a letter; a punctuation symbol; as well as specific nouns, family names and geographical designations. The album begins with some moments of power on the first song and settles into a calm meditative groove with a few climactic episodes blended in, creating some interesting dynamic tensions in the mix. “Green Isac Orchestra is the extension of the duo Green Isac,” Lund explains. “It was put together in order to play live versions of Green Isac material, but soon the band started to make new music. Minimalist and ambient were the core ideas in the beginning, but on b a r there are several hints to prog.” The album cover art is an image created by the Norwegian artist Nils Olav Bøe (http://www.omniweb.no/nob/), his imagery is sometimes of constructed urban and industrial landscapes, atmospheric and dreamlike miniature tableaus, often warping perceptions of dimensions and distances. "We feel there is a relation between Nils Olav Bøe's artistic signature and our musical expression. The naked minimalism in his art suits us well." As a duo, Green Isac have always been known for the fresh and exciting recordings they created in the studio going all the way back to 1990. Now that the lineup has expanded to a quintet, the project has transformed into a living organism where the unmistakable Green Isac sound is developed and arranged with the musicians working together in a live setting, spontaneously crafting and refining their musical ideas through a process of realtime collaboration. “Typically a small theme, rhythm, or soundscape is presented as a start point, and then the arrangements are made in rehearsals until we feel we are ready for recording.” says Eriksen. “It has been quite refreshing working together as a group in this way, and we have really been focused on listening and responding to each other. Hopefully this reflects in the music and makes it more alive.” The music's complexity of character brings to the mind's ear progressive themes drawn from whole cultural experiences brought together respectfully, without fear or prejudice, creating an ear-opening warm resonance illuminating the mysterious, the intuitive, and the passionate, sometimes integrating sampled and found sounds, with electronic music techniques, while showing a preferred mixture of electronic and acoustic instruments over pure electronics. When asked, GIO describes their inspirational starting point as containing "a mixture of minimalism (Steve Reich, Philip Glass) and ambient (Brian Eno, Jon Hassell)... The palette has of course expanded over the years, with rhythms being equally important as the ambient aspect. The last records also have several nods to classic prog rock expressions." Inspiration can come in many forms. Kristianstad (Norway) is a summer getaway that has family attractions and untouched nature on land and water. Punkt International Music Festival, or Punktfestivalen (https://www.punktfestival.no/), is a music festival that has been arranged every year in Kristiansand since 2005. "We have attended the Punkt Festival in Kristiansand for several years. This is a small, alternative festival dedicated to electronic/improvised music, and has been a great source of inspiration. It is always inspiring playing live for a dedicated audience that is open minded for such musical direction GIO represents." One version of the GIO odyssey begins in Norway, with the label Origo Sound, an independent record label formed in 1990 by Harald Lervik. The first albums released that year were from Erik Wøllo, titled Images of Light, and Green Isac's Strings & Pottery, which were soon followed by more Norwegian artists including Geir Jenssen (Biosphere), Sverre Knut Johansen, Karsten Brustad, Langsomt Mot Nord, Eyeman Reel, and Neural Network. In 2007, Planet Origo came about, and in 2013 Origo was re-established. Let's go back further in order to set the stage for where we are now. In 1978, along came an album called Music for 18 Musicians by Steve Reich; in 1980 came Fourth World, Vol. 1: Possible Musics by Jon Hassell; and in February of 1981 an album was released that really changed the world, My Life in the Bush of Ghosts by Brian Eno–David Byrne. All of this set the course that led to the birth of the various Green Isac projects. In Norway in the 1990s there was plenty of electronic music happening, with adventuresome collaborations and musicians moving between projects from time to time, as tends to happen in any exploding musical scene. There was a strong influence from a little settlement located way up above the arctic circle, in Tromsø, Norway. Mostly Oslo is the place to be. Some names to pay attention to are Bel Canto (Geir Jenssen: synthesizer, programming; Nils Johansen: synthesizer, violin, bass guitar, guitar; and vocalist Anneli Drecker), Erik Wøllo and Sverre Knut Johansen. "We were directed to Origo from another company in this segment. Green Isac and Erik Wøllo were the first two releases on the label in 1990, followed by several releases of Biosphere. When Geir Jenssen quit the ‘arctic pop’-act Bel Canto to start Biosphere, he was replaced by (future) GIO´s drummer/percussionist Andreas Eriksen. Bel Canto toured extensively worldwide during the ‘90s." Ethnic electronica (aka ethnotronica, ethno electronica or ethno techno) is where artists combine elements of electronic and world music. Folktronica is a genre of music utilizing elements of folk music and electronica, often featuring stringed, or any type of acoustic instruments. "We had some time ago a project called Etnotronica, a series of concerts where we invited guest musicians to perform with us. One of these performances has later been released as GIO-tracks («Thon» from Green Isac Orchestra). We definitely look forward to performing live on stage again." Let us return to the notion of world music, where there is a blending between the ancient and the current, foreign and contemporary, and pottery with liquid soundscapes to create a new melodic richness. "Andreas and Frode have traveled several times to West-Africa to study traditional drumming and rhythms. We have all listened to folk music from all over the world for inspiration different from the typical western expressions. It is important for us to blend these influences with our own musical ideas without copying them directly." When asked for a definition of "music" the discussion turned to the German philosopher Arthur Schoppenhauer (1788 – 1860), "Music as a human form of expression is a unique phenomenon in the world, a phenomenon where one encounters something that cannot be replaced by anything else." Schoppenhauer deemed music a timeless, universal language comprehended everywhere, that can imbue global enthusiasm, if in possession of a significant melody. Many would argue that this applies to any artistic expression, but until abstract painting emerged in the early twentieth century, music was the only art that unfolded freely in its own purely artistic material that served no other purpose than music. He was among the first Western philosophers to contemplate Indian asceticism, denial of the self, and the notion of the world-as-appearance. Schopenhauer is famous for his influence on many artists and philosophers, providing for some a spiritual world and a new awareness of happiness. Next I asked GIO for a definition of listening. "Listening is a very central aspect of music making and especially during improvisation. It is as important as the playing itself." Improvisation is musical extemporization in the moment, traditionally without planning or preparation but in the Ambient world, there is often a vague plan, places where musical signatures will change, places where special textures are deployed. In a group setting this is particularly interesting because there is a wonderful tension between the plan and the spirit of surprise or discovery. In the Jazz tradition there are long established patterns, when to take a solo, when to return to the base theme or groove. It's all about the results, how it sounds for the listener, but sometimes it is about discovering new and unexpected things, for the musicians, and the scientists. "You could say that all our music is improvised since we never write anything down. However, we use a lot of time on arrangements. The approach is a little bit different between Green Isac and Green Isac Orchestra. The duo material is mostly studiowork with a lot of overdubs, while the 5 piece GIO is rehearsed and arranged by the band and then recorded with all members playing in the studio. There are of course overdubs afterwards, but the core arrangements are recorded live in the studio." "We have had a recording studio for many years, and most of the ideas are developed there. Our studio is downtown Oslo, the capital of Norway. The inspiration for us here is more the sounds and noises from the city life, rather than mountaintops and sunsets. Living in a small country in Europe, we are heavily influenced by Anglo-American culture." On the first track, bowed strings and tapped cymbals with exotic electronic spices make way for a journey into a somewhat dark wilderness landscape with primal geologic eruptions, a plethora of twists and turns into many interesting dimensions. This is probably the album's most energetic track, "Volcanic" (7:47), a vast epic landscape that constantly morphs into a series of cycles, a glowing orange bubbling and simmering lava flow that suddenly bursts into a powerful crimson eruptions and then returns to the quiet lava flow. Quietly emerging from darkness, slowly building patterns and details, featuring layered instruments, mainly piano and cello, peppered with acoustic percussion and keeping a meditative mood that slides into a beat, "Le Grand Sportif" (7:05) contains atmospheric displays of group interplay moving fluidly between musical worlds. No showy heroics or athletic power stunts as the title might somehow infer, this is a complicated uniquely magical marriage of the traditional to modern organic electronica, with incorporated elements drawn from classical, jazz, and world music. "With Hat" (3:25) is a portrait of a subject keeping still and thinking about many things, the subtle facial expressions keep shifting while the subject appears to stay perfectly still. This is a delightfully understated picture of a person posing and allowing the music to illustrate moments of expanded interior mental and spiritual awareness and power, while the tempo is majestically slow and dignified. Dawn breaks, I hear the cello embraced by intricate guitar layers and haunted by a changing range of pleasing surprises. A groove is established and then tweaked ever so slightly every so many measures, so that gradual changes add up to dramatic ones. "Don Progini" (7:03) ends with a burst of energy mixing of layers with distinctly foreshadowed build-up and release. The cycling theme weaves interpretations of a single theme above a steady rhythm, with a free-floating feeling that tends to find a different meaning everywhere it lands. Oneiric is an adjective that describes things related to dreams and the fifth track has to me a nocturnal, spacey, dark and oneiric, perhaps an even more melancholic feeling. While showing respect for the old traditions, it is also willing to think along new lines. The title is "Aarwaaken" (6:10), which might translate from Dutch for "to watch." The instrumental floats free, like a planchette moving over a Ouija board guided by many fingers, where everyone watches the pointer float in various directions but no one is quite sure how it gets there or what is doing the pushing. Darker, with a beat, visited by turns and layers, yes, this one is my favorite in this collection of some unusually fantastic songs. The closer for the album is a second portrait of a subject, but this one is not standing still, now we are walking at a brisk tempo, enjoying a new morning, luxuriating in a sound that doesn’t tell you what to feel. "Without Hat" (5:50) mixes layers with a distinctly foreshadowed build-up and release, innovative, eclectic elements, large-scale experimentation, and the use of non-standard and unconventional sounds, instruments, song structures, playing styles, repetitive circular rhythms, ornamentation, the use of acoustic stringed patterns, the sense of beatific endurance, electronic treatments, sound manipulation and minimal hypnotic motifs. And then it ends abruptly. The original duo known as Green Isac began with percussionist Andreas Eriksen and multi-instrumentalist Morten Lund, creating a changing sound that is always exploring electronics and technology blended with world music influences. On the Origo Sound label are their first two albums, Strings & Pottery (1991) where they began creating electronics and rhythms fusing bowed strings and pottery with vintage synths into a delightful ethnic stew, followed by Happy Endings (1997) an earthy blend of exotic strings and hand percussion. On the Spotted Peccary label their releases include Groundrush (2001), trance-dance ethno new age grooves, Etnotronica (2004), a world music flavored electronic dance masterpiece, Passengers (2014) has an exotic trancelike feeling, and their new sound, Green Isac Orchestra (2015), where the duo expanded to a five-piece ensemble, five people playing together and recording in the same room make the listening experience more alive, exhibiting fusions of styles, approaches and genres, involving a continuous move between formalism and eclecticism, assimilating some forms of almost classical music into the blend of ethnic and immersive atmospheres. Ambient electronic means many things, much of the time the music is for listening, not dancing and there is no conventional melody or beat, or perhaps the cohesion is more about texture and exploration. Green Isac is known for fearlessly exploring rhythms and melodies from all around the globe, some dancing is allowed, some meditative trance music is included, on this new album there are feelings tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music, performance and some harmonic language that was imported from jazz and 19th-century classical music. On b a r you will enjoy the rudimentary serialism and the instruments borrowed from world music and early music blended with new electronic musical instruments and technologies that transform the musicians' ideas of what was possible and the audiences' ideas of what is acceptable in music. Tracklist: 01 Volcanic 7:47 02 Le Grand Sportif 7:05 03 With Hat 3:25 04 Don Progini 7:03 05 Aarwaaken 6:10 06 Without Hat 5:50 About Spotted Peccary Music: Portland-based Spotted Peccary Music is North America’s finest independent record label with a focus on deep, vast and introspective soundscapes. For over three decades, the artists of Spotted Peccary have been on a mission to develop, produce, publish and release ultra-high-quality, deep-listening experiences that engage the listener and exceed expectations. Every release is carefully prepared in a variety of high quality formats from MP3 to high-res studio masters. Explore more than 165 titles and 45 artists at www.SpottedPeccary.com and www.AmbientElectronic.com. Links: Green Isac Orchestra. https://www.greenisacorchestra.no/ Spotted Peccary Album page: https://spottedpeccary.com/shop/bar/ Album Unboxing Video: https://www.youtube.com/watch?v=aFyZ6qzyctI Spotted Peccary Artist page: https://spottedpeccary.com/artists/green-isac/ Bandcamp: https://ambientelectronic.bandcamp.com/ Instagram: https://www.instagram.com/spottedpeccary/ Spotify: https://open.spotify.com/user/spottedpeccary FOOTLINKS Spotted Peccary Music https://spottedpeccary.com/ Origio Sound https://myspace.com/origosound Steve Reich https://www.stevereich.com/ Phillip Glass https://philipglass.com/ Brian Eno https://brian-eno.net/ Jon Hassell https://jonhassell.com/ Punkt Festival https://www.punktfestival.no/ Erik Wøllo https://www.youtube.com/channel/UCwVTavNxGX0qkgwRrRjdCGw Sverre Knut Johansen https://www.youtube.com/user/SverrekJohansen Biosphere https://www.youtube.com/watch?v=0ZIwR2BzL0Y Bel Canto https://www.youtube.com/watch?v=i5Njw0ovIbY Music for 18 Musicians https://www.youtube.com/watch?v=ZXJWO2FQ16c Fourth World, Vol. 1: Possible Musics https://www.youtube.com/watch?v=cFig-OiIwDo Karlheinz Stockhausen http://www.karlheinzstockhausen.org/ La Monte Young https://www.melafoundation.org/lmy.htm My Life in the Bush of Ghosts https://www.youtube.com/watch?v=fMTi73h5B_U&list=OLAK5uy_mOoJHF6_qCl1To4Wz8qnPg9YuG37u1zRo Hybrid https://www.youtube.com/watch?v=5ZI2GLhEo7U Arnold Schoppenhauer https://iep.utm.edu/schopenh/ Nils Olav Bøe https://artpil.com/nils-olav-boe/ https://www.artland.com/artists/nils-olav-boe-8c26ec #AmbientElectronic #ElectronicMusic #Music #NorwegianMusic #GreenIsacOrchestra #SpottedPeccaryMusic #bar #InstrumentalMusic #Percussion #WorldMusic
Maintaining mixed origins or adapting to a new culture is widely a daunting task to execute, an uphill battle to overcome. For a South Asian American, the level of difficulties can be even greater. Barely any character in the American TV shows, movies, or books portrays the desi appearance or culture. This predicament, invoking fear of becoming estranged, would ultimately influence the South Asian American minors to believe what they see on TV or read in books is the only “accepted” way to present themselves. On The Last American, Brooklyn-based Ali Aslam reflects a similar collage of tales of his early years when he discovered himself in the middle of his family’s Pakistani upbringing and his peers’ American lifestyles. The indie folk-rocker’s self-released debut came on October 30. Listen in here! https://open.spotify.com/album/1WHPw2Dqq4wfioyifKGc4V Throughout the 12 tracks, Aslam has assured his profound insights into indie folk, rock, and even American pop music. “Supersonic folk,” the tag he uses, aptly plants the sonic image of his bucolic mixture of soothing melodies, soft guitars, and calm vocals. The Last American is somewhat a guitar-driven album, mostly acoustic, but often harmoniously jangly. The record does not see the New Yorker geeking out about instruments and experimenting with unusual tones, but the indie singer-songwriter knows how to captivate the listeners with his guitars by sounding celestially gentle and grippingly substantial. His simplistic rhythms on low strings and atmospheric melodies on high supply the album with refined fuel. The intertwining of thematical and diverse musical dynamisms adorn the album with a compelling aura that is genuinely novelistic in its own essence. In fact, the instilled emotional vibrancies of the album transmit the feeling that the child of an immigrant upholds after not belonging to the culture of the American peers. Aslam, however, has never lacked scope and ambition. He optimistically believes that we are ultimately responsible for the world we create. Thus, he challenges the children of the immigrants to dream bigger by representing themselves the way they are. The Last American is the result of Aslam’s creative virtue, personal struggles, and harvested dreams. His pared-down approach gradually evolved into something impressive enough, and this will surely appease the indie folk enthusiasts.
Singer-songwriter Gedalya reflects on holiday season with new single, The Lesson of the Flame Dec. 1, 2020 (New York) – Just in time for Hanukkah, Folk-rock singer-songwriter Gedalya has released “The Lesson of the Flame,” a musical reflection of the need for positive spirituality during difficult situations. “Finding ways to get through hardship is central to religion,” Gedalya said. “And I wanted this song to reflect the powerful combination of faith and positivity. “It’s my first time writing a holiday song, or even writing a song directly about Judaism, for that matter,” he said. “Even though I wrote the song with the holiday season in mind, it’s about more than just the annual celebration. I wanted to convey the power in continuity and history. This Hanukkah many of us are experiencing a year of tragedies, but by learning from tradition and remaining faithful we can find better times. I tried to reflect that in ‘The Lesson of the Flame.’” The song speaks directly to the power of positivity, especially during times of tribulation. “Finding yourself can be a challenge, especially when times are difficult,” Gedalya said. “This year especially I have seen so many struggle with what is happening in the world. I wanted to make sure they heard a positive message for the holiday, but also I wanted anyone that hears the song to feel – deep down – that their situation can also get better. Now is the time to look inward to find the strength to make it to those better times.” While the song reflects Gedalya’s faith, he said its spiritual message is universal. “I wanted ‘The Lesson of the Flame’ to speak directly to the listener’s soul,” he said. “But the message of the song is not inherent to a particular faith; rather it speaks to a state of being. It’s a frame of mind that brings light to the dark and the blessings of that kind of a life are tremendous.”
A perfect combination of the sweet vocals of Owl City, the acoustic trend of Taylor Swift’s “Red” album, and everyone’s favorite alt rock band, comes the newest addition to our November 2020 Playlist, “Take Time” by Miami based band, The Collective Bus. The band coined the name after the Argentinian double- decker bus, The Colectivo. Made up of Daniel Correa, Aldo X, and David Hadalgo, the band brings together that early 2010s soft rock/ alternative indie rock sound we all used to listen to on the beach, in the car with our parents, or on a bike ride with our iPod Nanos. “Take Time” is the band’s latest single, relating to a gentle connectivity story, between two people, one begging the other to slow down, drop their walls and insecurities down, and face the connection between them. “I see you’ve been silently hurting, you could know that I feel the same.” This song is a feeling of going through loneliness together. “Let us not play pretend, that we’re blind to this.” Daniel leaves the interpretation up to the listeners, about whether or not this track is a love story, or a story about two friends, going through the loneliness of life together. We absolutely love the chill, California-esque vibe of this band, and can’t wait to hear more from The Collective Bus. As stated in their IG bio, the band is “professionally sad, manic, and stoic,” and aren’t we all? Listen to "Take Time" here: https://open.spotify.com/track/3GxQeql35vsESYan1YTSc4?si=p59vXAp3ROeMS6H3hnCbsQ Connect with The Collective Bus: https://www.danielcorrea.com/ https://www.facebook.com/thecollectivebus/ https://www.youtube.com/channel/UCndyexrw_jbdmKDAzCdzl9g https://www.instagram.com/collectivebus/ https://twitter.com/collectivebus
This has been possibly the most anxiety-ridden week in American history, and music that really SEES what I’m going through is always the best painkiller. Luckily, we found the PERFECT song and video for Election week called “Over the Line”. It’s from an up-and-coming indie band in Charleston, SC called Honeypot (I’m not sure either). Honeypot is basically Frank Hartman, a lawyer-by-day, guitarist-by-night who worships at the altars of Rush and Hendrix. Honeypot is also heavily influenced by prog and grunge legends like Tool, Audioslave, and Alice in Chains. What makes them unique is their unapologetic political commentary that’s ripe for the moment; clearly, they’re not afraid to “go there”. The band had previously released one full-length album called “Suicide Letters” (on Spotify now), but they’re really coming into public view with their new project. “Over the Line” is the first single; its name comes from The Big Lebowski. Frank explains, “In The Big Lebowski, Walter is upset because no one gives a sh*t about the rules anymore. I’m upset because no one gives a sh*t about the rule of law, the Constitution, or the fragile democratic republic we so tenuously hold onto as a country. As I speak, people are voting. On the other side, who knows?” Accompanying “Over the Line” is a searing music video consisting of spliced footage of police violence, Black Lives Matter protests, and other chaos that ensued in 2020. It shows that although Americans are strictly divided down the aisle right now, the differences between parties are ultimately an illusion, designed by a more powerful force to distract people. The song asks people to care for themselves and each other while not falling prey to the mind games. On-point advice, if you ask me. Can’t wait to hear more from these folks! Listen to "Over The Line" here: https://open.spotify.com/track/3Rhd5FDrfpuniSUNV0wC1B?si=O1Hz2lcYTGGVIH2ItfknUA Watch the video here: https://www.youtube.com/watch?v=CINEafCsiIE Connect with Honeypot: https://honeypotband.com/ https://www.facebook.com/honeypotband1 https://instagram.com/honeypotband1 https://twitter.com/honeypotband1
It's frustrating for us all not to be able to get out there and play live in front of an audience, but 'Online Live' has made musicians realise they can reach a wider audience when true live finally returns. I have struggled to enjoy many of the live streams because the audio quality has been so poor, so my choice is to play live, record the performance, and upload it as a YouTube Premiere. So I will perform a 60 minute gig from 6pm GMT/UTC on Wednesday 9th December from my attic studio. Look out for the premiere at https://www.youtube.com/channel/UCR2tL6XKACog69J69M30g7w/videos?view_as=subscriber and set a reminder if you are able to join me. Take care everyone and keep creating. We will see better times! Peace John
Winter Holidays are a great time to share a joyful season with friends and family. Sounds of superb, joyous music should surround festive times. Belief Records, with the support of UnitedMasters, is thrilled to curate the Ali Hugo Instrumental Playlist. The list will be your soundtrack to a memorable winter holiday. Whether shopping for presents, signing greeting cards or sharing a meal with loved ones, the Ali Hugo Instrumental playlist is the right choice of music for your winter holidays. Link to Playlist: https://unitedmasters.com/m/happyholidays
We are particularly excited about this featured artist because of his cool, charismatic, and confident demeanor. Reigning from Boston, Munk Duane is a man of many talents, perfecting the craft of songwriting, song production, film composition, and MUCH more. Munk’s music comes from his many respected influences, like Marvin Gaye, Stevie Wonder, and Prince just to name a few. Munk is not a newbie to the music world, in fact he’s grown tremendously through the years, and that is extremely prevalent in his newest release, “Sweet Tooth”, that dropped on October 23rd. Not only is it fitting for the next holiday coming up, where we’ll all be indulging in our spookiest, sweet tooth. Munk’s track begins with the smoothest intro, some easy claps, and some psychedelic vibes, before his smooth and catchy vocals come into the track. The song is sexy, haunting, and sweet all in one record. “I get the feeling this will end bad.” This song plays with the flirty, dangerous feeling of chasing after something (or someone) you know you shouldn’t mess around with. We absolutely love the R&B inspired, smooth jazzy type of vibe that Munk has created with this track, and we cannot wait to hear more from him. Follow Munk On Socials: https://twitter.com/munkduane https://www.instagram.com/munkduane https://www.facebook.com/munkduane https://www.youtube.com/munkduane https://soundcloud.com/munkduane
For anyone whose relationship is struggling to withstand the confines of quarantine, Red Flower Lake understands. The indie-pop duo comprised of real-life husband and wife Abel and Rahimah Wright makes lush, romantic ambient-pop in the style of Mazzy Star or Cigarettes After Sex, and their new Three Truths EP is all about the struggle to keep love alive in a long-term commitment. The EP (which was released on all streaming platforms in September 2020) opens with "Heart is Breaking", a song Rahimah says is about feeling wrecked by how hard it is to be a partnership in parenting, wrecked by trying our very best and falling short, over and over again. Sounds like the definitive experience of being a family (even a chosen family) in quarantine to me. Not many songs speak to how often we can feel heartbroken even while in love - this one offered a refreshing truth. Musically, "Heart is Breaking" opens with an expansive, late 80's-inspired series of chords that suggested Cyndi Lauper might be on the way. Instead, Rahimah's sultry vocals stretch across the lower register in the dreamlike yet powerful manner of Cat Power; they're supported by an accumulating kaleidoscope of electronic sounds, layering to a climax as the song progresses. Red Flower Lake is based out of their home studio in Virginia, where they turn the agony and ecstasy of love and partnership into art. Maybe their romantic songs will be just what you and yours need to rekindle the spark at home. Listen in via: https://open.spotify.com/album/5PAtUjLT9tUcbBZz6wM0cy
"Live" Whatever happened to true 'live'? We all know it will be back one day and we can get out to the pubs and clubs, cafes and bars to see musicians at their work. For the moment we are all having to hold up our profiles virtually, and either live stream performances or uploaded recorded live shows. The interesting thing here is that 'Live Online' will continue when the pandemic finally leaves us. It has provided another string to every musician's bow. Having experimented with live streaming and being disappointed with its quality, my choice has been to play occasional live online shows, but always to record them first and upload them to a channel that I know will present them with good quality audio. The next one of these will be on Wednesday 9th December at 6pm GMT (Greenwich Mean Time), and will comprise an even mix of old and new songs. So why don't you set a reminder and join me for an hour? The YouTube link will follow at a later date so keep looking out for that. Pease and take care John
Honeypot’s new single, “Over The Line,” rolls in perfectly on the heels of the election. The band’s lead singer and guitarist, Frank Hartman, blends grunge rock of the 60s and 70s with modern day political commentary, calling for compromise between political parties and standing up to the system. “Over The Line” is a socially conscious version of progressive rock reminiscent of Rush or Pink Floyd. Frank explains that the inspiration for the song was “the deep divide we have as a country. There is a feeling of ‘us vs. them’ that should not be.” The single calls for listeners to put America over this division, and this message is perfectly backed by Honeypot’s striking music video. The video features imagery relating to so many of the issues highlighted in 2020, especially police violence and Black Lives Matter protests. The video demonstrates that, while these issues divide our nation, Americans are coming together to combat injustice, caring and supporting one another rather than succumbing to the system. It’s a well timed message accompanied by an amazing track from this accomplished rock group. Watch the video here! https://www.youtube.com/watch?v=CINEafCsiIE
Bassist, lyricist, and vocalist Eric Scott has recently released “Peace Bomb,” the title track to his forthcoming soul-infused, rock, funk album of the same name. In such a dark state of the world Eric has created an inspiring, positive, and uplifting single. Calling his new music “Modern Throwback Soul,” Washington, DC soul artist Eric Scott's music continues to evolve on his new single PEACE BOMB. Unafraid of a pop hook, and also of showing some respect for the body of 70's soul that has influenced him… “Peace Bomb” celebrates the joy, spirit, and soul of an era that reminds us that peace, love, and booty shakin' never go out of style. "We need a call to arms right now, and everybody needs to be on the same page. Instead of dropping a bomb that destroys everything, I'm trying to drop a bomb that spreads peace and love instead. That's much cooler and much more needed." says Eric. Eric has toured with B.B. King, Mavis Staples, Aaron Neville, REO Speedwagon, Pink Floyd’s Roger Waters, and award-winning blues/jazz artist Deanna Bogart. He’s written, produced, and released 5 solo albums, and he is a 15-time Wammie winner (WAMA - Washington Area Musicians Association). My favorite part of the track, in addition to Eric’s trained vocals, groovy drums and jazzy vibes, is the final chorus where Eric sings, “We’ve got to love each other” a few times over, a phrase that is said often, but is rarely acted out. Listen here: https://open.spotify.com/track/6AmuOstEk9L6cbjdbhALp0 Visit Eric Online: https://www.ericscottmusic.com https://www.instagram.com/ericscottmusic https://twitter.com/eric_j_s https://www.facebook.com/EricScottMusic
Sharing your music is about building and growing your fanbase. So, your music is already available in the rest of the world and not so many are following or listening to your music, or not as many as you would like. And China has been added to your current distribution service and you think this is enough. The truth is most distributors distribute to only a few of the mainstream services in China, putting your music under the competition of the top chart artists. You are owed every opportunity to grow your fanbase and get paid for it. What does China pay per stream, how much will I get from 1 million streams? The big picture: compare China and Spotify, representing the total global digital market. Like Spotify now with 92 world markets and 286 million listeners, China has 100’s of music services yet has over a billion listeners. When your music is played on Spotify the pay per stream varies greatly from country to country. Your one million Spotify streams will pay you over $8000 from Iceland or it will pay you $800 from Argentina. This is the same in China, the pay per stream varies greatly from service to service and from user to user. Your million streams can get you 10 times or more from one service to another. Distributing your music is about establishing your fanbase, especially in China. If you don’t have fans you won’t have returning paying listeners. So, do you want to get paid 10 times per stream or do you want 10 times the listeners? Which scenario gets you more fans and more opportunity for your music to get heard and listened to? You deserve the edge in this growing new market where artists are gaining traction and finding success with where they couldn’t elsewhere. Get your music to over 50 music services in China with Musicinfo to give you the advantage over the typical distribution services. Secure your music copyright and collect 100% of your royalties with one of their distribution packages. Musicinfo’s one-stop-shop gives you access to their distribution and promotion services enabling you to engage your audience though Chinese social media channels, video platforms and playlists. It is often possible for you to distribute to China with Musicinfo and still keep your music distributed to the rest of the world with your current distributor. Giving you the best opportunity to attract more fans. Join Musicinfo’s growing community of artists, get your music to China, establish your fanbase and get paid.
Keeping the spirit of rock n’ roll alive, The R Train’s explosive new single “Take a Ride” makes you want to stomp your feet, clap your hands, and take a much-needed break from the craziness of the world around us. The Brooklyn-based band made up of vocalist/guitarist Jeffrey Black, drummer/vocalist Mike Annese, and bassist Denny Lee is truly taking the new wave rock world by storm with their tracks that just keep coming. LISTEN IN HERE! https://open.spotify.com/track/5lX5WL2vbNGnNee20Nm9Nz Powerful electric guitar riffs drive this song with pounding drums that make all listeners want to stop what they’re doing and dance. “It is intended to make the listener feel as if they are having an adrenaline rush. We are trying to lift people's spirits by taking them on an exciting, fun, fulfilling musical ride,” says Annese. The song definitely delivers its promise, so put away your worrying and “Take a Ride” with The R Train!
NEW RECORDING! Tofu Roadkill is unique in my collection of originals as being the only song -- with music and lyrics -- that I have written. As the title implies, it is intended to be fun and crazed. The song was written in 1999. I could not bring myself to show it to anyone -- especially to my songwriter friends! So, the lead sheet stayed in my music files until Matthew Klein (AKA, Uncle Brother), a musician friend in Berkeley Springs, WV, took it under his wing for this 2020 project which he arranged, performed, and recorded. UB has a wonderful sense of humor, which I greatly enjoy. His style is a perfect match for this song. Please visit my Ethnocloud page and listen to the new track.
Divine life of Punarvasu is a country/folk album written by John Edwin with a unique sound created by fretless banjo and electric guitar. The lyrics often contains a spiritual theme and sometimes refers to astrological terms and Yoga philosofy. The albums eleven tracks are based on the sixth song ” Can I ever reach Moksha when I cannot reach my toe ” where the word Moksha ( sprirual enlightment ) is mentioned in the same phrase as the father of bluegrass Bill Monroe. The word Punarvasu is borrowed from the vedic astrology Nakshatra system and refers to the two brightest stars in the constellation of Gemini Castor and Pollux. It serves as an alternative name to Nirvana for the album`s headcharacter, questioner and Yogi : John Pigeonpose Edwin The music is performed by John Edwin and the Banjodasha Hillbillies which are : John Edwin alias Peter Danielsson – fivestring banjo, fretless banjo, vocals & acoustic guitar Kenneth Bakkelund – electric guitars Pedro Blom – Bass Jörgen Andersson – snaredrums The album is recorded October 2019 and April 2020 at Sensus studios in Östersund. Mixed by John Arveli Mastered by Nevo mastering. John Edwin and the Banjodasha Hillbillies is country/folk music from Jamtland county mixed up with storytelling from this sinful valley & divine poetry from Punarvasu. Release 7 Nov 2020 / Your devoted friend John
With their acclaimed ambient electronic music project Time Being, spacemusic maestros Phillip Wilkerson and Jourdan Laik have been exploring the expansive sonic realms of atmospheric soundscapes for the better part of a decade, becoming favorites on ambient, sleep, and study Spotify playlists. On their third album, An Ocean Of Time, the duo venture into over 70 minutes of deep-drifting, time-melting, soul-stirring bliss that hovers delicately at the fringes of darkness and light. The album releases today on Spotted Peccary Music in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats. See inside the album and sample the music in this unboxing video: https://youtu.be/beLliEy6J3c. The vast and immersive ambient soundworlds that unfold throughout An Ocean Of Time foster an introspective, deeply-serene state of mind well-suited for yoga and meditation. The album’s fathomless spaces evoke a sense of ageless infinity. The sublime combination of synthesizers, electronics, spatial effects, and subtle swarms of orchestral wonder coalesce into a boundless auditory expanse where time is forgotten. Hints of cello and violin drift upon an open sea of textural ambience, as occasionally pulsing electronics or melodic illusions come into focus, hold us in suspense, and gradually dissolving back into the void. With soundscapes as expansive as the mind will allow, Time Being musically ponder this question in an attempt to touch a perfect heart of awareness, presence, infinity, and the essence of being. The music invokes the question, “Are we in the cosmos or is the cosmos in us?” The sound of Time Being sometimes portrays forms in fog that offers suggestions without always simply resolving. To further illuminate what I hear on the album, I have reached out to both musicians to discuss their process and to bring their electronic art into a more crisp context. What you will read here are many short ideas that resemble a stream, flowing past bits of quartz and gold, containing bountiful plant life and an amazing range of small living creatures; life is raging all around, and every moment is magical, forming an interplay of the eternal, unchanging consciousness and the temporary, material world. The conversation begins with the topic of making music. Robin James: How would you describe your methods for inventing your sounds? Phillip Wilkerson: I’ve had a lifelong interest in the creative process and discovered that creativity is more of an opening to the experience rather than trying so hard to capture the experience. Opening to the creative process sets vibrations in motion that are expressed as sounds or words. Capturing the vibrations (recording sounds) is just a mechanical set up--a recorder, a pen, etc. Getting stuck in the mechanicals is easy to do and sometimes, even results in new forms of creativity. So balancing both aspects is necessary, but for me, the mechanics are always secondary. Jourdan Laik: Layers. You cannot sit down and create an intricate soundscape in one fell swoop no more than you can create a flower with just carbon. Robin: How did your parents prepare you for your journey? What do you remember about discovering music? How does that allow you to create now? Jourdan: I couldn’t have been more than 8. I was with my parents at a record shop. My mom asked me which I would like; she held out a few cassettes for me to choose. I picked one that was all black - I thought it looked cool. It was Mozart. We listened to it all the way back home. Once home I listened to it till bedtime. It wasn’t my first time hearing classical music. Maybe it was because the tape was mine but this was likely the first time I actually listened to music. I liked picking out all the instruments and following them up, down, in and out. I would even wave my hands around to the beat pretending I was a conductor. Phillip: Most recently, I’ve discovered that the music primarily creates itself and the mechanics take care of themselves. Music channels through me and gets recorded. I don’t always “make it happen” It often happens spontaneously and without intent. Again, it’s setting up creative opportunities and then letting whatever happens next happen. Jourdan: I want to make music and sounds that take people to a different place. Each composition means something to me personally - but I’m not interested in forcing you there. I want you to go where the music takes you. So as long as the music allows you to disconnect from where you are now, and go to a different place, then I have achieved my task as a composer. Phillip: My task as a composer is primarily to create music that listeners enjoy returning to again and again--not necessarily on repeat, but over a number of years, revisiting like an old friend. To create ambient music that is evergreen and timeless. I wouldn’t call composing a task, but rather an opportunity. Robin: What is music? Phillip: Music is setting vibrations in motion in the form of sound. Sound is primordial and is a two-way manifestation that we can all participate in--as sound creators and sound listeners--neither is merely passive. Jourdan: Everything is vibrating. The frequency of these vibrations define the different things we see. Humans love to experience beautiful things. When the vibrations are just right - they please us. Music is vibration organized into patterns and harmonies. But so is a flower. You can see a flower. But you can only really appreciate it when you look closer. Understanding everything about even one flower requires more than just a glance. Listening is the aural version of visual exploration. Robin: (to Phillip) What is listening? Phillip: Listening is Awareness, being aware of what is happening in the imminent moment. We can listen with our whole body to what is happening all around us and within us as a field of our immediate presence--locally, globally, and as a universal presence. And maybe simply because there is no definitive answer, it becomes apparent, if you ponder long enough, that life calls upon each of us, individually, to create a reality for ourselves and to take responsibility for creating an existence, within our sphere of influence, that is meaningful and beautiful. I think that might be what ‘waking up’ is really all about--taking personal responsibility for making our brief, fragile lives as beautiful and meaningful as we can. Jourdan: Our reality is now. Dreams are a part of that reality because we experience them. If we were to “wake up” to something else, the same questions would persist. There’s a lot of conjecture and speculation about what’s out, up, outside of here. I think that’s a result of people wanting to escape the many unfortunate realities that befall us in the now. The best way to be more awake is to love. Robin: What would you tell a youngster about getting ideas for composing and about the process of creating music? Phillip: Don’t follow anyone’s rules or try to imitate other artists. Discover your own processes and let the music make itself. Jourdan: Learn everything you can about music. Train your ears. Learn the rules so you know what to break and when. Learn the piano. You will wish you had these skills only a few years from now; and it won’t be long before you realize that you should’ve started earlier. Phillip: Life calls upon each of us, individually, to create a reality for ourselves and to take responsibility for creating an existence, within our sphere of influence, that is meaningful and beautiful. I think that might be what ‘waking up’ is really all about--taking personal responsibility for making our brief, fragile lives as beautiful and meaningful as we can. Meditation is just a way to access and open our inherent powers of Awareness into spontaneous Being and Presence. Robin: Are you able to bring music back from your nocturnal dreams? Jourdan: I can lucid dream and have full control over making music. I seem to have the ability to create almost anything I want. I can’t seem to bring anything back with me though. When I wake, it’s all gone - only the memory that I could do it remains. Phillip: Dreams are just another form (vibration) of Awareness. I would not make a distinction as to “where” music comes from. Recorded music is just an incident in Awareness that was captured. Jourdan: We can be surrounded by a lot of info all the time. You can soon feel like all things are known. Where we’re from and where we’re going. The fact is that we know so little. There’s so much to discover. Phillip: Life isn’t a passive process. It’s a creative opportunity. In many ways, I feel like I do live my dream, without being in an actual dream. My life is good. Which is not to say that I don’t have challenges. I just let whatever happens next happen and meet it with a welcoming attitude to see what unfolds. Robin: The music of Time Being allows listeners to consider many impossible things. When listening I find myself exploring strange new oceans and vast alien summits. What are the most beautiful places you have ever experienced music in? Jourdan: We don’t have any noteworthy mountains or seas in Wisconsin. But in the early summer, when it’s warm and the corn is still short - there are places where the vista goes on and on. With not a sound in the air - it is as tranquil as can be; you can float. Phillip: I live in the land of magnificent sunrises and sunsets, Florida, with vast skies and magnificent clouds. We don’t have mountainscapes in Florida, we have sunscapes and cloudscapes. I’m being inspired constantly, just looking out my window. Jourdan: Sometimes I want to be in a dark huge forest. Other times, someplace warm. I’d love a chance to photograph the upper midwest, Oregon etc. Robin: What would you like to share about yoga and meditation, and your personal methods for experiencing a good life? Jourdan: If you have a hard time with the kind of meditation where you’re alone with your thoughts, try meditation with music. Listen to it and try to visualize where your brain takes you. Don’t try to think about what the artist wants you to see - just let it happen. I have found that this is an incredibly easy way to quiet the mind. Robin: Time is "what a clock reads" or a certain number of repetitions of one or another standard cyclical event, the motion of the sun across the sky, the phases of the moon, the swing of a pendulum, the pulse of the surf on the shore, or the beat of a heart. What if our clocks were to Stop? Jourdan: We’d need to change the batteries in our clocks. Phillip: In a sense, the clocks can stop if you move your Awareness outside the paradigm of time and deeper into Awareness. Again, this is pretty close to a definition of meditation. Robin: What would you like explorers of the ever expanding universe of music to know about An Ocean of Time? Jourdan: Just to listen and go where it may lead. Phillip: The artwork for An Ocean of Time reflects the expansive, boundless, spaciousness that the music opens up for the listener. It also hints at that balance / interplay between dark / light and time / being. I don’t necessarily equate the word “ocean” with the actual body of water we call the ocean, but more like the “face of the deep” primordial ocean or void (although I really don’t prefer that word if we can “avoid” it). “An Ocean” is a play on “A Notion” as in the first and last title tracks. Time and Being first and last in titles to tracks 1 and 8. Time “seems” to Be endless (a notion). And Being (in the truest sense) is Timelessness. So we are Beings, experiencing “being” (awareness), in the infinite oceanic void of perceived Time, yet we’re always in this moment, in the now, where living and experiencing life really takes place. Sure, we have memories and expectations. They are just part of the play. All the titles of the tracks reflect these basic questions and themes: Awareness, presence, infinity, the essence of Being, timelessness--it’s all ultimately illusory, yet it is also fully and imminently experienced by our senses and our Presence in the eternal Now. Robin: Your new album is a moving mirage of strings and particles touched and reverberating, patterns form in the haze, this one might be called substance and that one might be called serendipity, life understood as life is lived. Thank you for all of your fantastic work and for sharing your perspectives on the creative way of life! Now let us turn to the music itself. A global ocean has existed in one form or another on Earth for eons, and the notion dates back to classical antiquity in the form of Oceanus. In the first track, the title track, "An Ocean of Time" (7:09) I hear a subtle sigh of surf under a night sky, gentle tones, with no repeating melody, from a fantastic ethereal piano, with a slight hint of strings shimmering for brief moments. Various objects pass through the stars never lingering. The sound portrays forms in fog that offer suggestions without resolving. Darkness within darkness, nearly revealing fragments of gradually emerging details in a wide open skyscape, "Drifting Form, Ineffable Void" (5:47). There are significant differences between the way things are perceived to exist and the way things really exist, the "now" and the "not now" are part of the music. A bridge crosses the Styx at Limbo. "Here. Now. Always." (6:51) considers the ever expanding present, depicted by colorful vapors and small thin clouds of desire. Form, and formlessness, the "present" is a relative concept different for observers in relative motion. The music invites us to muse in our beds about dreaming and multiple consciousnesses, death, collective memory, and the simultaneity of the constant presence of the "dreamer." When living consciousness becomes coherent, the behavior of random systems may change. Life is raging all around, and every moment is magical. Time as an illusion, a mirage of strings touched and reverberating, patterns form in the haze. "Infinite Cadence" (10:35) suggests that there could be a correct understanding of the relation of the self to the external world, but offers no actual proof. No matter, I just like the way it sounds. The next track speaks of liminal experiences, radical subjectivity, and the great moment, only to wake into another dream. "Unfolding Way" (3:56) to me sounds like a series of sheets that are made of night. The sound has a flowing, surreal, dreamlike quality, neither affirming or denying what "is" or "is not." Human reason has boundaries, when we sometimes experience existential dread, anxiety, or anguish, the moment gets stuck and stands still, and to seek expectantly the possibility of the good is to hope, perfection guides us from inside. Following this principle allows us to live in peace with nature and to find tranquillity. "A Perfect Heart" (9:44) brings a sound of motion deep within huge clouds. Later the sun comes out and is sparkling brightly. A centaur is an example of poetic fiction, an illusion from antiquity, or perhaps a relic of someone’s dream. Humans are thus sometimes compelled to find or create meaning, authenticity is evidenced in acting, one should act as oneself and try to realize that in the most lucid dreams we are in control. "Momentary Illusions" (11:21) brings us deeper ever more, floating between the bottom of the ocean and the shimmering surface of the water. Does a dream offer clues for a deeper interpretation of waking reality? The idea of lucid dreaming, of knowing that you're dreaming and thus being able to exert some control over your dreams, suggests that the only things that exist are thoughts and ideas. In the closing track, "A Notion of Being" (15:30), the sound asks me, can there be a desert canyon under water? This is what the wind might sound like there. Time Being allows listeners to consider many impossible things. Time travel is the concept of moving backwards or forwards to different points in time, and some people might be traveling at different speeds, while agreeing on cause and effect, and measure different time separations between events. The past lies behind, fixed and immutable, while the future lies ahead and is not necessarily fixed. Music such as this investigates being as being, often to find no real equivalent of our concept of existence. Again the essential questions, perhaps the only questions that matter, are: Does it sound pleasing? Will you play it again? 1 An Ocean of Time 2 Drifting Form, Ineffable Void 3 Here. Now. Always. 4 Infinite Cadence 5 Unfolding Way 6 A Perfect Heart 7 Momentary Illusions 8 A Notion of Being An Ocean Of Time was mastered by Ben Cox, and is available for physical purchase in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats. The CD version of the album arrives in a factory sealed 6-panel gatefold package that includes vibrant artwork, liner notes, a 4-page booklet, and exquisite package design by Daniel Pipitone, with an original photo by Matthew Cooper. Time Being will be featured in the coming weeks on Spotted Peccary Music's popular Spotify "Impulse: Artist Curated" playlist, and on the label's YouTube live stream series: Transmissions; subscribe for updates at the links below. About Time Being: Time Being is the collaborative project of Jourdan Laik and Phillip Wilkerson. Both Jourdan and Phillip are interested in expressing and capturing photographic and/or artistic images that relate to time, eternity, and capturing the presence of the current moment, that is, freezing a moment of time in an artistic expression. Their collaborative music is an attempt to capture the presence of the moment using audio and sound capture. (timebeingmusic.com) About Spotted Peccary Music: Portland-based Spotted Peccary Music is North America’s finest independent record label with a focus on deep, vast and introspective soundscapes. For over three decades, the artists of Spotted Peccary have been on a mission to develop, produce, publish and release ultra-high-quality, deep-listening experiences that engage the listener and exceed expectations. Every release is carefully prepared in a variety of high quality formats from MP3 to high-res studio masters. Explore more than 170 titles and 45 artists at SpottedPeccary.com and AmbientElectronic.com. Links: Spotted Peccary Album page: https://spottedpeccary.com/shop/an-ocean-of-time/ Youtube Transmissions: https://youtu.be/kxuu089d-48 Time Being Artist page: https://spottedpeccary.com/artists/time-being/ MeWe: https://mewe.com/p/spottedpeccarymusic Facebook: https://www.facebook.com/timebeingmusic Bandcamp: https://ambientelectronic.bandcamp.com/ Instagram: https://www.instagram.com/spottedpeccary/ Spotify: https://open.spotify.com/user/spottedpeccary
Bombardier Jones creates rock and roll reminiscent of the likes of The Monkees, The Kinks, and many other Brit-rock favorites of the 90s — which doesn’t come as a surprise, considering frontrunner Ian Jones credits British psych-rock and the alt-rock of the 80s/90s as some of his greatest musical influences. Based in Baltimore, Ian Jones has long run in the underground indie-rock scene of DC, and his band’s latest release Dare to Hope has been long anticipated. The album perfectly showcases Jones melodic vocals and guitar riffs, especially on tracks such as “Take Your Time.” “Take Your Time” gently carries the listener through a sweetly sung chorus as electric guitars softly strum in the background. As the melody builds, sweet piano accompaniments contribute to the reassuring sonic landscape of the track, instilling peace within the listener. Listen here: https://open.spotify.com/track/4yGj2PDXCaokC1NG0TqoEv?si=CEEsu_D3SkSCe-dbNM_r0Q
Reading, Rhythm, and Raga Matthew Montfort's Masterclasses at Blue Bear School of Music Online Ancient Future leader Matthew Montfort taught music at the Blue Bear School of Music for over two decades. This fall, he returns to teach three virtual masterclasses! https://bluebearmusic.org/classes/online-rhythm-training/ 1. Learn to Read Music by Studying Classical Guitar Technique Rise Above Reliance on TAB! November 3 to December 8, 2020, Tuesdays from 8:30 to 9:30 PM, Have Fun Learning to Read Music through Classical Guitar Technique, Blue Bear School of Music Online. Guitarists are often good at reading TAB, but poor at reading sheet music. This six week class by Matthew Montfort will get you started learning to read standard music notation, while at the same time introducing foundational classical guitar technique that you can also apply to other styles of playing. You'll learn simple etudes and classical pieces, great for boosting your fingerstyle skills while actually having fun learning to read music! Tuition: $160. Tix: https://bluebearmusic.org/classes/online-rhythm-training/ Facebook Event: https://www.facebook.com/events/375544510493414/ 2. Got Rhythm? World Beat Workshop Returns to Blue Bear Online November 4 to December 9, 2020, Wednesdays from 7:30 PM to 8:45 PM, World Beat Workshop, Blue Bear School of Music Online. Matthew Montfort’s Got Rhythm? six week workshop is presented in an easy to follow, entertaining, yet educational format for all music lovers. African polyrhythms, Balinese kotèkan and Indian classical music are presented because these traditions cover the major types of rhythmic organization used in most of the world's music. This training from Montfort's book Ancient Traditions -- Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali and India can help anyone with a desire to improve their rhythmic skills. Tuition: $200. Tix: https://bluebearmusic.org/classes/online-rhythm-training/ Facebook Event: https://www.facebook.com/events/1293998794277679/ Get Rhythm! Ancient Traditions – Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali and India by Matthew Montfort. Info: http://www.ancient-future.com/atfp.html This classic "world beat bible" by Matthew Montfort takes the student on a musical voyage through the ancient rhythmic traditions of Africa, Bali, and India with a series of exercises that require no instruments to perform. Interesting, imaginative and fun, these rhythm exercises will be of immense help to all music lovers, not just percussionists. The new downloadable companion set of MP3 audio guide and MIDI groove tracks of the exercises in the book is set up for playback on Mac and PC computers, tablets, and smartphones. 3. Indian Raga for Western Musicians Improve Your Improvisation Skills Through Melodic Training November 5 to December 17, 2020, Thursdays from 6:15 to 7:30 PM, Indian Raga for Western Musicians, Blue Bear School of Music Online. This six week masterclass by world fusion pioneer Matthew Montfort will help you improve your soloing in any music genre from rock to jazz to free improv through melodic training. Learn the emotional power of each interval and how to construct meaningful melodies through the tradition of Indian raga. Open to all instruments and voice. Tuition: $200. Tix: https://bluebearmusic.org/classes/online-rhythm-training/ Facebook Event: https://www.facebook.com/events/1166034547144381/
Through using her vocal ability as a sort of spiritual practice, Raphaela Gilla creates music that transcends the mundane of everyday life. Born and raised in Israel but now based in London and Berlin, Raphaela’s multi-cultural heritage and upbringing inspire her faith and in turn, her music. Raphaela’s vocal style covers quite the range of practice, from ritualistic shaman to soaring melodies. Her latest single, “Star Song,” is the first off of her upcoming album Ancient Angel. This track pulls the listener in and upwards as she sings of the warmth that she feels in the presence of unconditional love. Her vocals rise angelically over the top of an atmosphere of ambient electronic sound and gentle single-head drumming. Listen to "Star Song" on Spotify: https://open.spotify.com/track/4aYsABRD72Mai5lcDWBTlm?si=AY4ak2qmST6Y5JnSLIVeGw Connect with Raphaela Gilla: https://raphaelagilla.com/ https://www.instagram.com/raphaelagilla/ https://www.facebook.com/RaphaelaGilla/ https://twitter.com/GillaRaphaela
Perhaps this one album, Hemispherica Portalis, changes everything. Music is organized sound, an invisible expression that lights up your inner universe. Here are some new colors and materials. Spotted Peccary Music released the new duo's debut album worldwide on September 25th (2020), with most popular sales and streaming links available at https://orcd.co/hemispherica-portalis. Here are some delicate flavors for your tongue's sensitive ears, moving between different points in time, experiencing products of vivid imagination, whose goals aren’t purely to explain phenomena beyond comprehension, but perhaps they also function to assure, encourage, and inspire. In the history of humans it has been said that the world has always existed, or the world did not always exist but was created in some way, or the world previously existed, but in another form, and has somehow been brought into this present moment. Music can provide an atmosphere for thinking new thoughts. On Hemispherica Portalis I hear lots of textures, there are no words except for the song titles. The artists deploy new technologies which create a sonic experience that has never before been considered to be possible. Desensitized is a collaborative project realized between Deborah Martin and Dean De Benedictis. The name “Desensitized” could be an antidote for our strange times, seeking relief from the most recent changes that have emerged from the teetering and whirling globe we live on. The controversial author H.P. Lovecraft once postulated that the most merciful thing in the world is the inability of the human mind to correlate all its contents. Desensitized is a balm for these new tribulations we are living through now in 2020. Performing under the moniker “Desensitized” these two veteran ambient electronic sound explorers have joined forces to craft a thought-provoking work of art that combines ancient and futuristic moods into a captivating world of sound, filling the imagination with illusory images of undiscovered realms. In 1996, De Benedictis released a self titled album called Surface 10, which remains one of his primary stage names. This was his debut ambient electronic music CD on Hypnotic/Cleopatra Records, featuring dark, ambient soundscapes and teutonic (Berlin school) techniques with a borderline space rock sound. Since then, he has brought the Surface 10 name into completely uncharted territory, melding a broad range of genre-based styles with edgy experimentation. Dean gained later momentum rekindling his ensemble-performance roots by working with groups including Brand X and The Stratos Ensemble. He is perhaps most known for his solo music, creating new sounds, sometimes even exploring the glitchy side of digitally generated melody, amidst his techno tribal and ambient music exploits. Dean is also the co-founder and producer of Cyberstock, an outdoor music concert and visual arts display that was once held in the Santa Monica Mountains. He is the founder of both Fateless Records, and the Fateless Flows Collective. He has a mountain of composition and recording accomplishments, many of which include visual components, and he has dabbled in filmmaking as well. In addition to Spotted Peccary, Hypnotic/Cleopatra and Fateless Records, his work has also been recorded on DiN Records, Novabeats, Bottom Heavy and Hypnos. His sound has been described as electronica, experimental, ambient, IDM, Berlin school, jazz fusion, progressive rock, deep space, tribal, down tempo, and drum & bass. Some of his favorite instruments include piano, synthesizer, guitar, voice, cedar native flute, concert flute, and percussion. Deborah Martin is blessed with a vivid imagination and a deep love of historic places and peoples of the past, she has the ability to travel through space and time to create a mystical and energizing sound journey, a melding of modern and ancient music. She blends visual elements of places, people and events of long ago with sound, spirituality, theatre arts, music, anthropology and medicine. Deborah is one of three owners of Spotted Peccary Music as well as being one of its best selling artists. She is a multi-instrumentalist, her favorites include ambient electric and acoustic guitar, bass, keyboards, orchestral textures, Taos drums and various percussion instruments. In previous albums she has been known to use sampling technology to include partial segments of Omaha and Kiowa cylinder recordings from 1894, and live recordings of Kiowa pow wow songs as well as field recordings from her own travels to places such as Nepal and Tibet. She has made her way throughout Europe, Asia, and the North American continent. Her sound comes from a very deep and ancient place, whispery melodies and lush, haunting chordal movements, evoking the sights and sounds of past and present while invoking the theme of sacred spaces. The abstract and alluring music that unfolds across the album’s seven tracks is in many ways just what one would expect when Martin and De Benedictis' recognizable yet disparate styles are focused into a singular expression. Hemispherica Portalis acts as a jumping-off point for the duo’s Desensitized deep dive into a new form of texture-based sonic exploration – one that merges vintage space-music tendencies with a modern electronic ambient style. Roiling in slow motion, Martin’s signature sounds and digital synth expressions expand and contract as the occasional acoustic flourish or melodic moment briefly bubbles to the surface. Added to that are the nuanced layers of De Benedictis’ remarkable laptop-based sound-sculpting approach and the resulting array of textural, experimental, and at times gritty elements that he expertly swirls into the mix. “I knew the drastic contrast between our two approaches would likely yield something new,” explains De Benedictis. “Deborah has a majestic and pristine melodic style, while I bring a textural and sometimes edgy experimental approach, using sounds I often create on the spot. I find the combination of our layers and approaches uniquely lush and personally refreshing.” Martin elaborates, “Dean’s years of sound sculpting expertise paid off in ways I can never fully explain; as soon as I began playing the melodic basic song structures, he was immediately adding textures and nuances that glued the passages into place. The creative result is a breathtaking display of original sound samplings, live recorded textural beds, and electronic elements melding into a profound ambient electronic revelation.” I think it is only fair to wonder why they chose the name "Desensitized," so I asked them. First Dean De Benedictis responded, "To me, the word describes something happening to the general populous, because so many of us experience the world through media now, and I find this somewhat of an additive to all of the other experiences that are inherent to life on earth. In a way, yes, the media kind of homogenizes our potential authentic experience, but I think there’s even more to it than that. I myself, personally, get more of an abstract impression from the term desensitized, not as just as the name of our band, and not implying only one cause, but a multi-tiered and universal affect. When you say the word "desensitized," it actually implies many aspects of the world that we have become "desensitized" towards, at this point. Sensory overload sometimes comes from many different places now, not just living life. Yes we get it from our own real-world experiences to some degree, but when you add modern developments like media and technology to that, now we have so many different angles and convolutions about experience in general that there really is no one thing that we have become "desensitized" towards." Deborah Martin added, "When we decided to get together and work on a collaboration, even though I have my name on other collaborations with Spotted Peccary, we thought, let's do something different, let's create a name that fuses both of our energies in a way that does not detract from our individual artist names, but really does make a statement about what we are doing together for our music projects, and I thought of the name Desensitized simply because, as Dean said, we become oversaturated with many things, whether it be media, even medicine, there are just so many different things that we become used to that it does not have a shock value any more, we are not affected as much by it, and that is distressing, so we wanted to make that our moniker, so to speak, because as Dean described, and I agree with him completely, it covers so many different aspects, not just the meaning of the word "desensitized" and so there is a depth to it that we feel accommodate the music projects that we are working on." Now, about the sound. What I hear are millions of small sounds, lush melodic electronica that transports listeners into new territories, blending edgy textural and experimental soundcraft with a commanding sense of depth and imagination. What I hear is not traditionally melodic, I hear lots of textures, there are no words except for the song titles. The artists deploy new technologies which create a sonic experience that has never before been considered. This album of sonic mythology is really different and essential, I think it is best suited for late night listening, when the planet is very quiet. There are so many tiny details and shivers to be experienced. Questions to be pondered, such as, are those myths and legends fanciful stories of something that existed only in the minds of our ancestors, or were they based on true events? How was the earth created? Why do we have night and day? Why do people die? How did the human species arise? There are no lyrics heard in the music, so your thoughts and discoveries are ultimately unlimited. Music is organized sound, an invisible expression that lights up your inner universe. Here are some new colors and materials. Here are some delicate flavors for your tongue's ears, moving between different points in time, experiencing products of vivid imagination, whose goals aren’t purely to portray phenomena beyond comprehension, but perhaps they function to assure, encourage, and inspire. In the history of humans it has been said that the world has always existed, or the world did not always exist but was created in some way, or the world previously existed, but in another form, and has somehow been brought into this present moment. Music can provide an atmosphere for thinking new thoughts. In my mind, Salvador Dali's abstract clocks glow across a dark background, representing time travel theories. Not all scientists believe that time travel is possible. Myths are a folklore genre consisting of narratives or stories that play a fundamental role in a society, such as foundational tales or origin myths. Many societies group their myths, legends, and history close together, considering such stories to be true accounts of their remote past and mix into a blend of all their folktales, fairy tales, superstitions, weatherlore, ghost stories, as well as stories of isles and continents lost below the surface of the waters. I sometimes wonder if some kinds of music permits the spirits of ancient humans to continue to navigate the seas, explore lost civilizations, examine sacred writings, tour ancient places, investigate ancient discoveries, question mysterious happenings, to ponder creation, divine will, fertility, death, and love - such concepts that are a universal part of many cultures throughout the world. Tales are told and sung, perhaps someone might embellish a detail here, exclude a name there, transpose two incidents, amplify a cryptic part, perhaps sometimes one might give greater motive or justification to an action. The only important question might be, do you like the way it sounds? Sometimes we are faced with unknown possibilities. The sound on Hemispherica Portalis is of electronica and air, changing into new unnamed forms and impressions. It starts with flutes, winds through a vast array of electronic illusions and ends with harps. The sound brings the listener through new territory in the electronic ambient universe, two astonishing artists collaborating on a colossal sonic adventure, a series of creative acts and intellectual contemplation where the "experiencer" and "experienced" argue about the ways in which supernatural agents formed the earth and peopled it, the causation to direct the natural forces to produce various effects, and often inspires at least one ambition of science: to invent an explanation, translating the unknown into the known. However, the constant listener should not make the error of believing. Always question what can be assumed, and most of all, enjoy the show! All of the music on Hemispherica Portalis was composed, performed, co-produced and recorded by Deborah Martin and Dean De Benedictis at Dreaming Edge Studio, which is located in Vancouver, Washington. There was some recording assistance on tracks 2 and 5 by Daniel Pipitone. The album was mixed by Matthew Stewart and Deborah Martin. Hemispherica Portalis was mastered by Howard Givens at Spotted Peccary Studio NW in Portland, Oregon, and is available for physical purchase in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats. The CD version of Hemispherica Portalis arrives in a factory sealed 6-panel gatefold package that includes vibrant artwork, liner notes, and a 16-pp booklet with a visual story for each of the seven tracks -- all of the exquisite package design & layout is by Daniel Pipitone of Daniel Pipitone Design, in Pittsburgh, Pennsylvania. Tracklist: 1 Hemispherica Portalis (Portal of 1000 Years) 06:59 2 Concunus Dracus (Dragon of the Heavens) 09:30 3 Formulata Oblivonos (A Complicated Tale) 09:15 4 Ecumenicus Orato (The Umbilical Center) 12:54 5 Saltis Nominus (Floating Seabeds) 11:38 6 Terminus Equitos (Redemption Seeker) 06:09 7 Amphibinatum (Myths and Legends) 09:05 Links: Spotted Peccary Album page: https://spottedpeccary.com/shop/hemispherica-portalis/ Album Unboxing Video: https://www.youtube.com/watch?v=u08x7-7OWow Smart Link: https://orcd.co/hemispherica-portalis Spotted Peccary Artist page: https://spottedpeccary.com/artists/desensitized/ Interview of Desensitized: https://ello.co/robinja56/post/iglmjdgzuqhpp7makkvwjw
============================================================================== Ancient Future Times Zoom Into Fall and Help Ancient Future Stay Here Now View Online With Photos: http://www.ancient-future.com/newssept2020.html Fall Equinox 2020 Issue: Blue Bear Masters •Masterclasses at the Bear Online: Read Music Through Classical Guitar, World Beat Workshop, Indian Raga http://www.ancient-future.com/newssept2020.html#workshop Concertless Cash Crunch Continued: Help Ancient Future Stay Here Now •Tax Deductible Contribution, Support A.F.A.R., Purchase Music, Vinyl from the Ancient Future http://www.ancient-future.com/newssept2020.html#coronavirus Private Online Music Lessons •Zoom into Fall http://www.ancient-future.com/newssept2020.html#lessons ============================================================================== Blue Bear Masters Matthew Montfort's Masterclasses Return to the Bear Online https://bluebearmusic.org/classes/online-rhythm-training/ Matthew Montfort taught music at the Blue Bear School of Music for over two decades. This fall, he returns to teach three virtual masterclasses: 1. Have Fun Learning to Read Music Through Classical Guitar Technique September 29 to November 3, 2020, Tuesdays from 8:30 to 9:30 PM, Have Fun Learning to Read Music through Classical Guitar Technique, Blue Bear School of Music Online. This class by Matthew Montfort will get you started learning to read standard music notation, while at the same time introducing foundational classical guitar technique that you can also apply to other styles of playing. You'll learn simple etudes and classical pieces, great for boosting your fingerstyle skills while actually having fun learning to read music! Tuition: $160 for six weeks. Buy Tix: https://bluebearmusic.org/classes/online-rhythm-training/ Facebook Event: https://www.facebook.com/events/782220905869020 2. Got Rhythm? World Beat Workshop Returns to Blue Bear Online September 30 to November 4 September 30 to November 4, 2020, Wednesdays from 7:30 PM to 8:45 PM, World Beat Workshop, Blue Bear School of Music Online. Matthew Montfort’s Got Rhythm World Beat Workshop is presented in an easy to follow, entertaining, yet educational format for all music lovers. African polyrhythms, Balinese kotèkan and Indian classical music are presented because these traditions cover the major types of rhythmic organization used in most of the world's music. This training from Montfort's book Ancient Traditions -- Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali and India can help anyone with a desire to improve their rhythmic skills. Tuition: $200 for six weeks. Buy Tix: https://bluebearmusic.org/classes/online-rhythm-training/ Facebook Event: https://www.facebook.com/events/608710749816299/ Get Rhythm! Ancient Traditions – Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali and India by Matthew Montfort. http://www.ancient-future.com/atfp.html This classic "world beat bible" by Matthew Montfort takes the student on a musical voyage through the ancient rhythmic traditions of Africa, Bali, and India with a series of exercises that require no instruments to perform. Interesting, imaginative and fun, these rhythm exercises will be of immense help to all music lovers, not just percussionists. The new downloadable companion set of MP3 audio guide and MIDI groove tracks of the exercises in the book is set up for playback on Mac and PC computers, tablets, and smartphones. 3. Indian Raga for Western Musicians Improve Your Improvisation Skills Through Melodic Training October 1 to November 5, 2020, Thursdays from 6:15 to 7:30 PM, Indian Raga for Western Musicians, Blue Bear School of Music Online. World fusion pioneer Matthew Montfort will help you improve your soloing in any music genre from rock to jazz to free improv through melodic training. You'll learn the emotional power of each interval and how to construct meaningful melodies through the tradition of Indian raga. Open to all instruments. Tuition: $200 for six weeks. Buy Tix: https://bluebearmusic.org/classes/online-rhythm-training/ Facebook Event: https://www.facebook.com/events/350847699296657/ ============================================================================== Concertless Cash Crunch Continued Thanks for Helping Ancient Future Stay Here Now! We'd like to thank the Ancient Future fans who have stepped up to help Ancient Future stay here now! Because of fan donations, we've been able to make some progress on the next Ancient Future record through remote recording, but there's a lot more to do to support this music and the musicians who make it until normal band activities are possible again. Live concerts will be among the last activities to return because they won't be safe until COVID-19 has been thoroughly dealt with through widespread mask wearing, widespread testing, contact tracing, treatments that are known to work, and a safe, effective, and widely distributed vaccine. Efforts to reopen the economy early are causing outbreaks, further delaying the next concert season. Musicians in Northern California were already suffering from very high housing costs, decreasing support for the arts, and absurdly low payments from the music streaming platforms. With all of this, we very much need your support to survive until concerts return, hopefully by 2022. If you've been able to return to work or have the means, below are four ways you can help. 1. Make a Tax Deductible Contribution http://www.ancient-future.com/donation.html#intermusic Ancient Future was accepted for fiscal sponsorship with InterMusic SF, a 501(c)(3) Non-Profit Organization, and now donations made through them on behalf of Ancient Future are 100% tax deductible to the full extent of the law! 2. Push A.F.A.R. Past the Finish Line http://www.ancient-future.com/afar.html The Archive of Future Ancient Recordings, Ancient Future's fun fan funded recording project, has over 86 minutes of music in it so far. Another set of studio tracks that will expand the project by over 50% is in production. With all of the concert cancellations, now is a good time to record remotely. Indeed, the bansuri, guitar, tanpura, and MIDI mock up tracks have been completed on a 28 minute suite, plus the guitar and MIDI mock up tracks on a 10 minute piece. But remote recording can't be done in real time, so hundreds of extra hours of production are required to make MIDI mock ups and tempo tracks for the musicians to perform to. Because many of the master musicians in Ancient Future's collective don't have home recording equipment, we need to raise money for a few professional stereo audio recording interfaces and studio microphones. Please consider becoming a supporter at one of the levels below, starting at just $15. And if you are already a supporter, you can still upgrade to higher quality downloads until each supporter level is sold out. Once you become a supporter, you will receive all of the tracks in the archive (and all of the tracks that will be added in the future), and you will be eligible to buy a limited edition CD-R of the Best of A.F.A.R. So Far, which includes all of the best tracks that will (barely) fit on a CD-R. Supporter Levels and Premiums: Recording Newsletter-$15 (receive 128 kbps downloads) Download Supporter- $25 (320 kbps downloads) Limited Edition CD Sponsor- $50 (all previous plus CD quality audio) Honorary A & R Representative- $75 (all previous plus video and 24 bit audio) Donor VIP- $??: Make Additional Donation. A.F.A.R. So Far CD-R- $20 Additional. (SALE $15) 3. Purchase Music to Support the Arts Ancient Future's 2020 Vision sale on recordings and educational materials has been extended to encourage support. Purchases at the Ancient-Future.Com World Music Store directly support the artists and the music, and this sale offers bargain prices. http://www.ancient-future.com/catalog.html Five for Fifty: Five Releases Just $10 Each: Yearning for the Wind by Ancient Future. Signed Audio/Video E-CD-R. List $17.98. SALE $10. Planet Passion by Ancient Future. CD. List $17.98. SALE $10. Sangria by Mariah Parker. CD. List $17.98. SALE $10. Seven Serenades for Scalloped Fretboard Guitar by Matthew Montfort. CD. List $17.98. SALE $10. Sympathetic Serenade by Matthew Montfort. Signed EP CD-R. List $12.98. SALE $10. 4. Vinyl from the Ancient Future http://www.ancient-future.com/visions.html Visions of a Peaceful Planet by Ancient Future is the band's debut recording, recorded between December 1978 and May of 1979, when all of the members were studying at the Ali Akbar College of Music in San Rafael, California, under the late sarod master, Ustad Ali Akbar Khan. "The first thing that makes this LP a delight is the magnificence of the instrumental blending. 'Zzaj,' by Montfort, for instance, sounds like music to celebrate the sunrise. 'Morning Song,' on the other hand, is based on Indian instruments, the Bansuri flute of Klein over a harmonic bed of sitar, tabla, sarod, zither, and tanpura; great stuff sounds like a dove whistling in a forest of stringed instruments." – Philip Elwood, legendary music critic, San Francisco Examiner In the Ancient Future archives are two dozen original vinyl LP copies of Visions of a Peaceful Planet (not a re-pressing). Used previously played LPs have been sold by collectors on eBay for $44 each. But these are unopened virgin copies, and quite a bargain at $40 each until they are gone! Don't have a record player? Get the enhanced CD version of the recording that also includes the band's first video shot in 1978 at the College of Marin. Visions of a Peaceful Planet by Ancient Future. Original Vinyl Pressing. Very Limited Stock. LP- $40.00 Enhanced Audio/Video E-CD-R- $19.98 ============================================================================== Private Online Music Lessons Zoom into Fall Private Online Lessons with Ancient Future Bandleader Matthew Montfort. Study any of the musical traditions featured on the Ancient Future web site, all styles of guitar (and other fretted instruments including ukulele, bass, mandolin, charango, and sitar), record production, composition, world rhythms, music theory, and repertoire for all instruments. 60 Minute Lesson- $75. (Sale $60 for new students): Custom private one hour online lesson. 45 Minute Lesson- $65. (Sale $50 for new students): Custom private 45 minute online lesson. 30 Minute Lesson- $50. (Sale $40 for new students): Custom private 30 minute online lesson. http://www.ancient-future.com/skype.html There are many advantages to online lessons. The lessons can easily be recorded, and it is easier to evaluate a student's technique with a camera than from behind a music stand. The main drawback to online lessons is that recording software is needed to perform duets due to internet latency issues. But duets are possible online via file exchange, digital audio workstations, and a free browser-based multitrack recording platform. Matthew Montfort will return to teaching in-person lessons when it is truly safe. At that time, he will be offering hybrid online/in-person lessons for students in Marin and Sonoma counties, with package deals for three online lessons and one monthly in person lesson to develop ensemble skills. ==============================================================================
========================================================== WORLD RHYTHMS NEWS Issue 17. Fall 2020: http://www.ancient-future.com/worldrhythms17.html ========================================================== In this issue: South Indian Vina Music •In Western Notation with Guitar TAB https://www.ancient-future.com/worldrhythms17.html#vina Blue Bear Masters •Masterclasses at the Bear Online: Read Music Through Classical Guitar, World Beat Workshop, Indian Raga https://www.ancient-future.com/worldrhythms17.html#workshop ========================================================== South Indian Vina Music In Western Notation with Guitar TAB Pallavi https://www.ancient-future.com/worldrhythms17.html#vina Ragam: Valaji (1,3,5,6,b7) Talam: Adi (8 beats) Arranged by Matthew Montfort Notation of South Indian Vina Music: https://www.ancient-future.com/images/pallavi.gif Matthew Montfort is a pioneer of the scalloped fretboard guitar (an instrument combining qualities of the South Indian vina and the steel string guitar). Montfort spent three months in intensive study with vina master K.S. Subramanian in order to fully apply the note-bending techniques of the South Indian vina to the guitar. Those who wish to study South Indian gamaka (note embellishment) on guitar need not have a scalloped fretboard guitar in order to play this arrangement: an electric guitar with light gauge strings or an acoustic guitar tuned very low will work. It can also be sung or played on any instrument that can slide between notes. This example from Montfort's studies with K.S. Subramanian is in a simple pentatonic raga (a melodic recipe for a mood involving ascending and descending scale patterns), which uses the root, major third, perfect fifth, major sixth, and minor seventh. The tala (rhythmic cycle) is a common 8 beat cycle known as adi tal, which is expressed with a hand clap on beat 1 (sam), a finger count with the pinkie on beat 2, a finger count with the ring finger on beat 3, a finger count with the middle finger on beat 4, a clap on beat 5, a wave on beat 6, a clap on beat 7, and a wave on beat 8. Pallavi MIDI Files GM Standard MIDI files of this South Indian gamaka exercise are presented here, arranged for General MIDI guitar and conga and bongo: Pallavi MIDI File (chromatic): https://www.ancient-future.com/midi/pallavi2.mid This arrangement of the above example is offered to play along with. The file has no note bends, so it functions well as an intonation guide. Pallavi MIDI File (with gamaka): https://www.ancient-future.com/midi/pallavi.mid This file will not playback properly online, so download the file first and then load it into your MIDI sequencing program. This arrangement includes all of the note bends, but since many of the bends are more than a full step, this file requires that the pitch bend function on the playback module be set to +-12 half steps. The tempo should be set at about 30 beats per minute. ========================================================== Blue Bear Masters Matthew Montfort's Masterclasses Return to the Bear Online https://www.ancient-future.com/worldrhythms17.html#workshop Matthew Montfort taught music at the Blue Bear School of Music for over two decades. This fall, he returns to teach three virtual masterclasses: 1. Learn to Read Music Through Classical Guitar Technique Teenage Student of Matthew Montfort Performs RecitalAdult Student of Matthew Montfort Performs RecitalAdult Student of Matthew Montfort Performs Recital September 29 to November 3, 2020, Tuesdays from 8:30 to 9:30 PM, Learn to Read Music through Classical Guitar Technique, Blue Bear School of Music Online. This class by Matthew Montfort will get you started learning to read standard music notation, while at the same time introducing foundational classical guitar technique that you can also apply to other styles of playing. You'll learn simple etudes and classical pieces, great for boosting your fingerstyle skills while actually having fun learning to read music! Tuition: $160 for six weeks. Buy Tix: https://bluebearmusic.org/classes/online-rhythm-training/ Facebook Event: https://www.facebook.com/events/782220905869020 2. Got Rhythm? World Beat Workshop Returns to Blue Bear Online September 30 to November 4 September 30 to November 4, 2020, Wednesdays from 7:30 PM to 8:45 PM, World Beat Workshop, Blue Bear School of Music Online. Matthew Montfort’s Got Rhythm World Beat Workshop is presented in an easy to follow, entertaining, yet educational format for all music lovers. African polyrhythms, Balinese kotèkan and Indian classical music are presented because these traditions cover the major types of rhythmic organization used in most of the world's music. This training from Montfort's book Ancient Traditions -- Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali and India can help anyone with a desire to improve their rhythmic skills. Tuition: $200 for six weeks. Buy Tix: https://bluebearmusic.org/classes/online-rhythm-training/ Facebook Event: https://www.facebook.com/events/608710749816299/ Get Rhythm! Ancient Traditions – Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali and India by Matthew Montfort. http://www.ancient-future.com/atfp.html This classic "world beat bible" by Matthew Montfort takes the student on a musical voyage through the ancient rhythmic traditions of Africa, Bali, and India with a series of exercises that require no instruments to perform. Interesting, imaginative and fun, these rhythm exercises will be of immense help to all music lovers, not just percussionists. The new downloadable companion set of MP3 audio guide and MIDI groove tracks of the exercises in the book is set up for playback on Mac and PC computers, tablets, and smartphones. 3. Indian Raga for Western Musicians Scalloped Fretboard Guitarist Matthew Montfort Improve Your Improvisation Skills Through Melodic Training October 1 to November 5, 2020, Thursdays from 6:15 to 7:30 PM, Indian Raga for Western Musicians, Blue Bear School of Music Online. World fusion pioneer Matthew Montfort will help you improve your soloing in any music genre from rock to jazz to free improv through melodic training. You'll learn the emotional power of each interval and how to construct meaningful melodies through the tradition of Indian raga. Open to all instruments. Tuition: $200 for six weeks. Buy Tix: https://bluebearmusic.org/classes/online-rhythm-training/ Facebook Event: https://www.facebook.com/events/350847699296657/ ========================================================== Private Online Music Lessons With Ancient Future Bandleader Matthew Montfort Private Online Lessons with Ancient Future Bandleader Matthew Montfort. Study any of the musical traditions featured on the Ancient Future web site, all styles of guitar (and other fretted instruments including ukulele, bass, mandolin, charango, and sitar), record production, composition, world rhythms, music theory, and repertoire for all instruments. 60 Minute Lesson- $75. (Sale $60 for new students): Custom private one hour online lesson. 45 Minute Lesson- $65. (Sale $50 for new students): Custom private 45 minute online lesson. 30 Minute Lesson- $50. (Sale $40 for new students): Custom private 30 minute online lesson. http://www.ancient-future.com/skype.html There are many advantages to online lessons. The lessons can easily be recorded, and it is easier to evaluate a student's technique with a camera than from behind a music stand. The main drawback to online lessons is that recording software is needed to perform duets due to internet latency issues. But duets are possible online via file exchange, digital audio workstations, and a free browser-based multitrack recording platform. ========================================================== © 2020 Ancient Future Music. All rights reserved.
The team at Belief Records has been busy building strategic plans for promoting Ali Hugo’s upcoming Swahili EP “Afrodisiac.” The group started by collecting fans’ responses on their preferences for streaming Ali Hugo’s music and accessing Ali Hugo related content, news and information with the launch of the Afrodisiac survey. Next, the team reviewed past successful strategies and how we could recycle them into the new project. “One of the fundamentals of working on any new recording project is managing the project budget,” said Touba Alam, the Digital Marketing specialist at Belief Records. “I know that I’m on a budget, and I need to invest funds to generate the maximum amount of exposure for Ali Hugo,” stated Alam. In the past, we have spent quite a bit of money promoting Ali Hugo on various social media networks, including Facebook, Instagram and Youtube, which helped Hugo build a good fanbase. However, none of those accomplishments come near to what we were able to accomplish with Tik Tok. By posting just one video titled “Ancient Dance” on Tik Tok, which generated 4437 views in the first hour after it was released, this rocked the foundation of our marketing plans. We could achieve for free on Tik Tok what We could not accomplish on other networks through paid advertising. Without a doubt, we now envision a whole new world of endless opportunities for Ali Hugo to stay connected to his fans and reach a new audience. So What does Hugo’s chances of going viral on Tik Tok mean for the Belief Records team? Touba Alam responded by saying, “the team has been taking a keen interest in Microsoft’s bid to acquire TikTok in the states, we were disappointed when that deal did not go through. On the other hand, we were glad that Oracle won that bid because the team at Belief Records are experienced users of Oracle software”. “It is great to work with Ali Hugo because he is such a hands-on musician and financial engineer who uses Oracle software for generating all sorts of reports and integrating them into Excel to create KPI,” said Alam. “So what this means for Belief Records and Ali Hugo is that we are familiar with the Oracle culture, which will help us integrate it to create art that will complement Tik Tok USA,” Alam enthusiastically confirmed.
American Actress Madonna recently spoke about her rise to fame when exposure platforms such as Youtube were non-existent. The eighties and nineties were an exciting time for artists in the music business. Major artists had awakened to the endless possibilities for furthering their success and gaining more riches than what they were earning from the record labels by taking control of their music density. Except for Madonna, the three top earners of those decades, George Michael, Prince, and Michael Jackson, had engaged their record labels in public disputes with both Prince and George Michael wanting out of the recording contracts they had signed in their teens. Prince wanted to gain ownership of the masters for the music he recorded while signed to Warner Bros Music. Those came to be known as the “Slave years”, which saw Prince change his name to an unpronounceable symbol. After the changes that enveloped the music business landscape, Prince signed an exclusive deal with Tidal, the platform owned by Jay Z. UnitedMasters artist Ali Hugo discussed the importance of musicians owning the master recordings of their releases. “ I’m lucky to be a cusp between generation X and the Millennials.” What makes Hugo different, is that he has the strong foundation and know-how from generation X music industry as well as the cutting edge skills needed to succeed in today’s landscape, while also working on accurately forecasting and strategically planning for tomorrow.” Possessing this adroitness is what made Ali Hugo sign with UnitedMasters. “Besides the fact that I get to keep 100% of the royalties from my upcoming catalogue, the agreement with UnitedMasters allows me to retain ownership of the master recordings of my releases and giving me access to endless sync & distribution opportunities.” “Having witnessed the “Slave years”, today; I understand the financial gains which can accrue from owning my masters’. “ it is all about believing in the value of my catalogue, which is the best financial investment I’ve made for myself and the future of the Ali Hugo estate.” Hugo’s is currently working on “Afrodisiac,” which will be his first release with UnitedMasters.
As a young boy I was quiet and shy. I gravitated to doing things I could do on my own, without being a part of a group. Writing poetry was something that I enjoyed and felt real with. I also liked trying to say something with meaning that made sense while using rhymes and being a bit creative. I didn't begin to put music to my words until I was around eighteen. One of my first songs, If I Were Superman really sums up where my head was at as a teen. When I was twenty-one I drove to NYC from Florida with my first demo tape and began my career in music. As I grew as a writer and performer I also took time to travel the world. While on my journey I became an observant Jew. I've seen both sides in my life, the secular and the religious world while maintaining my identity and ability to understand both sides. I seek to give a bit of insight, inspiration and guidance through my music. Now I'm fifty and still doing what I love to do, learning about life, writing songs and sharing my message. I'm hoping to build a good relationship with my fans and to share interesting ideas and positive vibes. Wishing you and yours only good things, Gedalya
Ali Hugo has signed with UnitedMasters. The Canadian singer-songwriter known for creating concept music is basking in the success of his “Hope for the Meek” album. At the same time, Hugo has already started producing his next project, titled “Afrodisiac.” Afrodisiac is Hugo’s highly anticipated Swahili music EP which takes Hugo to uncharted waters. “We created a communication video to let the fans known about the possibility of initiating the Afrodisiac project. That video went viral, and it put pressure on us to start the recording of the project as soon as possible,” Hugo explained. Initially, we thought of creating a dance record suitable for the many seasonal dance festivals that take place across Africa, for example, the Full Moon party, which takes place yearly in the archipelago of Zanzibar. However, after analyzing the stats of a survey we conducted with the fans, it became clear to us that “Afrodisiac” has to be a holiday music EP. Wheres, we promoted my previous Time Machine EP as the music that would take listeners to the sounds of “Back in the Day.” The survey showed us that “Afrodisiac” should be marketed as the music that takes you on a “Getaway” or Escapade. However, that's just the concept; the music itself will be straight-up radio-friendly Pop music,” Hugo Confirmed. When asked how fans of Hugo’s spiritual music from Hope from the Meek are going to receive the secular “Aphrodisiac” pop music? Hugo responds with “despite the name, the idea behind aphrodisiac is seduction, which leads to Kosher intimate relations”. When we were mapping out the promotion action plan for “Afrodisiac,” we considered “Heart in Motion” by Amy Grant as an exemplary record for making a successful transition from Christian music to a successful secular pop album. The promotional home base for “Hope for the Meek” was the UK. However, with Afrodisiac, Hugo decided to move that base to Germany. Along with a new Homebase, Hugo signed with UnitedMasters a digital music organization formed by Steve Stoute an industry veteran with impressive credentials as President of Urban Music at both Sony Music and Executive Vice President at Interscope in the ’90s. "Signing up with UnitedMasters is an exciting change of direction for me. In any new business relationship, the expectations have to be realistic, but I’m convinced that UnitedMasters is a step forward in taking my career to the next level." Hugo reassured his fans.
A life in music seems to have been destined for Artem Ramsay from the day he was born. Better known as Muhammad Abdul Al Khabyyr, the renowned trombonist and fixture of Quebec’s music scene and beyond for more than 40 years can’t remember a time when music wasn’t prevalent in his life. His professional career has spanned a multitude of genres, from jazz, to rock, pop, and classical. Ramsay’s new song, “...and all the leaves stood still,” came to life in the wake of death and is completely performed on piano. Sitting on his porch after the loss of someone dear, the air and large trees that enveloped him were still. Suddenly, a golden maple leaf appeared on the ground in front of him. Ramsay understood; all those leaves had stood in honour of that one fallen leaf. Yes, leaves are like people, no different. Think “...and all the leaves stood still” is out now! https://www.youtube.com/watch?v=iAomh4r8qII&feature=youtu.be
Guiding the listener on a fascinating voyage, the album DREAMS BEYOND has nine tracks that allow listeners to travel through quiet spaces and mysterious realms, frequently propelled by dynamic rhythms that build to powerfully dramatic moments. Using his collection of synths, electronic percussion, electric guitars, and sound design software,Norwegian musician Sverre Knut Johansen infuses the tracks with a creativity that satisfies the ears and sparks the imagination, weaving melody, rhythm, and texture into a captivating musical tapestry that constantly evolves from beginning to end. Inspired and sincere, Dreams Beyond is bestowed with passion and warmth. It is a thoroughly enjoyable exploration that invites us to follow our dreams into the unknown and beyond, seeking – and discovering – a peaceful paradise of long days and beautiful landscapes, safe from danger, and hidden from the outside world. A dream is a succession of images, ideas, emotions, and sensations that usually occur involuntarily in the mind during certain stages of sleep. Dreams are also sometimes seen as a means of seeing into other worlds, dreams often function as a “signpost” motif to mark certain stages in life, the unexpected discovery of one’s own jewels. Perhaps knowledge cannot be defined through perception. This album presents an opportunity for using your ears to explore impossible and fantastic landscapes in alien worlds, sometimes resembling the mountains of earth, sometimes resembling nothing you have ever seen. Are dreams experiences? I had the opportunity to exchange email with Sverre Knut Johansen in August of 2020, The first question I asked him was about how the album came about. This is what he told me. SKJ: Most of the music on this album is crafted and sound designed with inspiration from the art picture BEACON by Michał Karcz. The BEACON picture is the front cover on this album and for me it is quite magic and maybe a little unreal. Q: Why did you choose that particular image? SKJ: I guess I chose the picture because it reflected the music I want to make. Also I had this title “Beyond Dreams” in my mind for some years, and this fine picture also reflected this title. When I was working with the music I always used BEACON as my screensaver, for when I compose and when I listen. At this point I decided I wanted to find out about Michał Karcz, so I looked at several websites, Karezoid Michal Karcz (https://500px.com/karezoid) and Abduzeedo (https://abduzeedo.com/node/82933). Here is a summary of what I found. On Abduzeedo: “The combination of digital photography and painting totally works well for his art. The universe that Michal is taking pleasure to make are places that don’t exist coming from his dreams, desires, imagination and fears. For those you won’t know about Michal, he is an artist based in Warsaw, Poland that graduated from High School of Art in Warsaw.” On Karezoid: “My journey into the world of photography began in the early 90’s, but at that time my biggest passion was painting, which helped me to develop a vision that was hard to create with other visual techniques. Unfortunately I had to leave the paintbrush and canvas. A few years ago I have opened “the door” to my own world with help of a different key. Most of my work is like a journey to the places which don’t exist. Places from my dreams, desire, imagination and fears.” The Work of Michał Karcz shows great imagination, and I look forward to seeing more. He has a new website: https://www.michalkarcz.com/. Let us return to Dreams Beyond and the interview with Sverre Knut Johansen. SVK: The meaning of the title Dreams Beyond is to explore and follow our dreams beyond the unknown, finding, searching and discovering a secret treasure (a paradise) hidden from the outside world, a peaceful place with long days surrounded by birds, beautiful landscapes, safe from all danger in this world. A healing place. The music is more ambient than what I have recorded before this time and some sounds also pull the music in a more orchestral direction. (Now I would like to pause in the interview and take a closer look at the music.) The story never begins or ends – it merely ‘becomes.’ The last of the summer moons have begun to wane, the old crows break their long silence and begin to shriek strange cries from the darkness, expressing dark moods framed by adventurous melodies that haunt the ancient mountains. These are the Tatra Mountains, the highest mountain range in the Carpathian Mountains, which form a natural border between Slovakia and Poland. Their topography causes one of the most diverse climates in that region. Leo Frankowski mentions the Tatras several times in his Conrad Stargard series of science fiction novels, also there is mention of these same mountains in The Wolves of Time, a series written by William Horwood. The composer Karol Szymanowski on occasion found inspiration with the distinctive traditional music of the same Tatra mountains in southern Poland. The opening track sets this listening adventure in motion, “Tatra Mountains (Introduction)” (4:40). There might be a science of dreaming, crossing the ancient chasm, cautiously emerging into percussive motion and pulse, a dance into the fullness of time and what lies hidden. Before the magical time of the chimera ends one might sometimes be aware while dreaming that one is dreaming, “Awakening” (9:37). To look through the ceiling, through the roof, to dream of reaching the sky, weaving awe for the soaring landscape, is sometimes a simple matter, requiring only a “Skylight” (8:58). Such openings allow for rhythm and pulses to lead the way up into the vast beyondscape. With a sound signal like whistling the title track emerges, leading into a stop and start sequencer pattern that keeps repeating and building: “Dreams Beyond” (10:54). Unseen creatures continue to whistle from the void, calling out to each other to enhance their telepathic illusions, thoughts dance upon the pillows of oblivion. What I hear next reminds me of the majestic beauty of creation and all those who love the silence and calm of the mountains, “Dawn” (4:01) is the frontier of the void, light emerges with varying shapes of the crystal-image spreading luster across the sky. The term Tatra is a general expression in Slovak for barren or stony land, and in Russian for rocks and small stones in a river. The Tatra Mountains are home to many species of animals and insects and this song includes many imaginative clues that may trigger your ideas of what those beings might be doing. The track “Tatra Mountains” (8:35) presents a melody that haunts the wonderful meadows just under huge lime cliffs, walk through the valleys and then climb the higher parts of the range and behold the soaring landscape all around. The Legend of the Sleeping Knights is a folktale from the Tatra region, inspired by the outline of one of the most famous peaks, Giewont, which is said to resemble the posture of the sleeping knight. You are now floating gently above the delicately painted sleeping knight, now surging towards ecstatic climaxes, now yielding to the hypnotic strains of a wordless dance. My favorite track is “Causeway” (9:48), an interesting journey through many layers and textures on a raised road across wet ground. I hear electronic insect sounds, portraying a trail through night and mystery, time and room variously for romance and terror, and letting go. Imagine discovering that you have already fallen into some accidental time travel to prior historical settings, and have been left stranded. Imagine being suddenly transported into the past, and managing to make something by exploiting all the things you know from having studied history. The mood is slow and vast, ever stranger events rekindle the fires of a dying universe. “Echoes of the Past” (9:19) The final track is titled “Human Connection” (6:38) and is a reflective processional meditation, in my mind’s eye I can see lines of pilgrims climbing the mountain to find gems holding the powers of the season. The cello is played by Henrik Silfverhielm, and the synthesizers provide the situation. Q: What equipment did you use for this project? SKJ: There are two important synth pads that have been great for making this album: The "Equinox" Pad from PRISM for REAKTOR By Native Instruments and the "Epic Majestic" Pad from OmniChill by Plugin Guru for Omnisphere. The Epic Majestic Pad is the foundation for the two "Tatra Mountains" tracks, also giving life and passion to "Dreams Beyond" and "Awakening" tracks. The dramatic bird sounds I use in "Tatra Mountains" are a big part of this song as they create a more dramatic and intense vibe throughout the track. These two minutes I created with these sounds are important to the whole album as I also use them elsewhere to link the tracks together. The bird sounds on "Tatra Mountains" along with different effects and synth sounds was crafted from the OSCar programmable Music Synthesiser. I have for some years been thinking about the guitar and for this album I asked some friends and borrowed a guitar and a EBow. Playing the guitar is a new experience for me and this can be heard on all songs except “Tatra Mountains.” - For the tracks - “Dreams Beyond” - “Dawn” - “Echoes of The past” - “Human Connection” - I use EBow on the guitars. Q: What have been your earliest and most important musical or artistic discoveries? SKJ: In 1976-1980 around this period I listened a lot to Isao Tomita and at the same time I read the books of Erich Von Daniken. A perfect combination. Tomita`s “Bermuda Triangle” was an exciting musical discovery. This might mean that I have been growing up with more symphonic classical music and not so much electronic traditional music. Q: In a few words, how would you describe your composition process? SKJ: Finding the right sound and seeing what happens. Most of my music is Improvised in real time. Q: What would you like to try that you have not tried yet? SKJ: A concert. Sverre Knut Johansen was born in 1960 and is from Mo i Rana, a lesser-known town in the northern-central Helgeland region of Norway, just below the arctic circle. Rich content and strong melodic elements have become his musical trademark. Johansen’s first electronic album was produced by Erik Wøllo in 1994 on the Norwegian label Origo Sound. Johansen has allowed his listeners to become Krononauts, providing a path to the extreme distances of time, sometimes to explore the creation of the universe, and other times just for the speculative wonderment. He has a master’s degree in music technology from NTNU in Trondheim, Norway (2009). In the beginning he experimented with audio cassettes and then built his first music studio in 1983, where he composed and recorded his own symphonic rock through the 1980s, adding computers and midi technology in 1990. Some recording highlights include Distant Shore (Origo Sound, 1994); The Source Of Energy (Origo Sound, 1999); Av Jern (Orkana, 2008); Planets (Origo Sound, 2013); Hibernation (Origin Music, 2013); Life (Origin Music, 2013); Ancient Prophecies (Origin Music, 2013); Lights (Origin Music, 2013); Elements Of Light (Origin Music, 2014); Different Directions (White Horse, EP 2014); Nightshift (Origin Music, 2014); Earth From Above (Spotted Peccary, 2016); Secret Space Program (Spotted Peccary, 2017); Contact (Origin Music, 2017); with David Helpling – The Vast Expanse (Spotted Peccary, 2018); with Robert Rich – Precambrian (Spotted Peccary, 2019). The new album, DREAMS BEYOND, a beguiling collection of compositions infused with imagination and beauty, is on Spotted Peccary Music in a wide variety of formats, available at https://orcd.co/dreams-beyond TRACKS 1 Tatra Mountains (Introduction) 2 Awakening 3 Skylight 4 Dreams Beyond 5 Dawn 6 Tatra Mountains 7 Causeway 8 Echoes of the Past 9 Human Connection FOOTLINKS Spotted Peccary https://spottedpeccary.com/shop/dreams-beyond/ https://spottedpeccary.com/artists/sverre-knut-johansen/ Bandcamp https://sverreknutjohansen.bandcamp.com/ https://ambientelectronic.bandcamp.com/ Michał Karcz https://www.michalkarcz.com/ https://abduzeedo.com/node/82933 https://500px.com/karezoid Tech https://www.adsrsounds.com/reaktor-tutorials/a-detailed-demonstration-of-the-prism-reaktor-ensemble/ https://www.pluginguru.com/ http://www.vintagesynth.com/misc/oscar.php https://encyclotronic.com/synthesizers/misc-instruments/oxford-synthesizer-company-oscar-programmable-music-synthesizer-r1720/ https://ebow.com/ Erich Von Daniken http://www.daniken.com/ Isao Tomita https://www.namm.org/library/oral-history/isao-tomita Bermuda Triangle https://www.youtube.com/watch?v=vjFKQY2IjZc&t=1412s Tatra Mountains https://culture.pl/en/article/the-tatra-mountains-astonishing-images-of-a-lost-land http://panoramy.zbooy.pl/360/?c=tatry&lang=e&pg=cat http://winterclimb.com/climbing-base/item/34-climbing-in-tatra-mountains-poland-slovakia https://www.earthtrekkers.com/visit-the-high-tatras-from-poland-or-slovakia/ #AmbientElectronic #ElectronicMusic #SynthesizerMusic #ElectricGuitar #SverreKnutJohansen #SpottedPeccaryMusic #ElloAmbient #BeyondDreams #InstrumentalMusic #TatraMountains #MichałKarcz
Len Seligman, award winning musician and vocalist has brought his listeners an incredibly beautiful and meaningful message with his latest release, “Our Turn Now.” In such an important time in our country, Len Seligman uses his platform to tell a true story about John Lewis, Jimmie Lee Jackson, and so many other brave men and women who fought for equality and rights and have now become heroes for us all to look to. In the accompanying video, Len not only displays his emotion, his guitar skills, and his heart of gold, but listeners are able to put a real picture to the story of what happened in our history so many years ago. Inspired by Len’s recent pilgrimage to Selma, Alabama, “Our Turn Now” talks about how black men were not allowed to vote, the peaceful protests, and how these heroes showed us how to assemble and vote for what is right. “We will rise, we will vote and organize.” A strong message given to his listeners and viewers, in an extremely relevant and crucial time for our voting and justice system, Len Seligman sings a democratic anthem that we can listen to as we exercise our own right to vote. Watch the video for "Our Turn Now"here: https://youtu.be/USDWXFSnYoY Connect with Len Seligman: https://lenseligman.com/ https://www.facebook.com/LenSeligmanMusic https://twitter.com/lenselig https://www.instagram.com/lenseligman/
Italian born and NYC based, talented multi-instrumentalist Lorenzo Mohr has just released the second single from his upcoming self-titled album. The track, “Harry Wants To Be Free,” is as Mohr declares, “a song of liberation.” Through his lyrics, Mohr tells the story of Harry, a man who dreams of connecting with nature rather than existing a day longer in a society in which he feels constantly surveilled. The song’s conceptual nature is perfectly embodied by the powerful energy of the track. Electric guitars rip open the track and Mohr’s rock n’ roll vocals are soon to follow. As Mohr cries “Harry wants to be free!” the listener feels full of the janglin’ spirit of the track. Mohr’s style of rock feels reminiscent of Car Seat Headrest with a twist of rock that would fit right into in the 90s — it’s noise rock with a well executed melody, and it truly is liberating. Listen to "Harry Wants To Be Free" here: https://open.spotify.com/track/1IP17tEArf1mvCj5lYsbGm?si=4HYei7sDTje61bIW_LBSZg Connect with Lorenzo: https://lorenzomohr.com/ https://www.instagram.com/thelorenzomohr/ https://www.facebook.com/thelorenzomohr https://twitter.com/thelorenzomohr