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The French word for “shiver” is “frisson,” but in this instance, we’re not shivering
from the cold; rather, we’re trembling from the stimulation of Afrobeats music.
Traditional Yoruba music, jazz, West African highlife, and funk were combined to
create the musical genre known as afrobeat in the 1960s and 1970s. The Nigerian
musician Fela Kuti, known for his colorful personality, musical prowess, and
involvement in post-colonial African politics, is credited with creating
the original afrobeat genre.
Jazz musicians have been drawn to Afrobeat in large numbers. Collaborations
have given rise to albums like Roy Ayers’ 1981 Polydore label record Africa:
Center of the World, which spans the decades from the 1970s with Roy Ayers
to the 1990s with Randy Weston. Fela’s “Beasts of No Nation” was sampled by
jazz saxophonist Branford Marsalis in 1994 for his Buckshot LeFonque album.
Important modern producers and musicians like Brian Eno and David Byrne,
who acknowledge Fela Kuti as a major influence, say that afrobeat has had
a significant impact on their work. Both worked on Talking Heads’ highly
acclaimed 1980 album Remain in Light, which brought polyrhythmic Afrobeat
influences to Western music. The new generation of DJs and musicians of
the 2000s who have fallen in love with both Kuti’s material and other
rare releases have made compilations and remixes of these recordings,
thus re-introducing the genre to new generations of listeners and
fans of afropop and groove.
A tiny Afrobeat movement emerged in Brooklyn, New York, in the late
1990s and early 2000s, with groups like Antibalas, The Daktaris, and
the Kokolo Afrobeat Orchestra. Since then, other performers have
emerged on the scene, including Zongo Junction. Many additional
artists, including The Budos Band and El Michels Affair, two bands
affiliated with Daptone Records, have credited Afrobeat as an
influence. Both the critically praised 2008 album by TV on the Radio,
Dear Science, and the 2008 album by the British band Foals, Antidotes,
featured the Antibalas horn section as guest performers. Paul Simon
and Vampire Weekend both use some Afrobeat elements in their music.
Antibalas was a Grammy Award nominee for Best Global Music Album
in 2020.
Following in the footsteps of Fela Kuti are Afrobeat musicians from
the 2000s and today, such as his sons Femi Kuti and Seun Kuti, Franck
Biyong & Massak (from Cameroon), Segun Damisa & the Afro-beat Crusaders,
Shaolin Afronauts (from Adelaide, Australia), Newen Afrobeat (from
Santiago, Chile), Eddy Taylor & the Heartphones (from Cologne, Germany
(from Vilnius, Lithuania),Afrodizz and Dele Sosimi and the ex-Africa ’70
members Oghene Kologbo (guitar) with Afrobeat Academy, Nicholas Addo-Nettey
(percussion), who is also known as Pax Nicholas [de], with Ridimtaksi
(both based in Berlin, Germany). Namibian artist EES (Eric Sell)
associates Afrobeat with reggae and kwaito.
The Broadway production Fela! was created by the music company Knitting
Factory Records (KFR) in 2009. The narrative told the tale of Kuti’s life
as well as his “courage and extraordinary musical talent.” The play received
three Tony nominations for Best Costumes, Best Sound, and Best Choreography
out of its 11 total nominations. Produced by well-known people like Shawn
“Jay-Z” Carter and Will and Jada Pinkett-Smith, Fela! spent 15 months on
Broadway. Denzel Washington, Madonna, Sting, Spike Lee (who watched it
eight times), Kofi Annan, and Michelle Obama are just a few of the famous
people who were spotted at the performances. Sandra Izsadore is portrayed
in the movie by former Destiny’s Child vocalist Michelle Williams.
Afrobeats has gotten to a point now where it’s surviving without the
co-signs of major players like Drake, Jay-Z and others.
The influence of the genre has now spread outside of West African artists
with R&B artists like Beyoncé, Chris Brown and Roy Woods plus British pop
singers like Dua Lipa and Anne-Marie incorporating the sounds into
hits of their own.
Flamenco dancers and contemporary choreographers have created dances for most of the tracks. Over the course of time, since the conception of the original idea, several elements have been changed and readapted after being tested through interaction with audiences during concerts, eventually resulting in the forms in which they were finally recorded.
Released by NAXOS
Ann Licater is an award-winning recording artist, world flutist, favoring wood, silver, and clay flutes, as well as a producer and composer. She created and facilitates “Flute for the Soul” workshops where she plays Native American and world flutes as tools for personal discovery. Ann merges her intuition and traditional music background to create beautiful original melodies and provide an inspiring artful, sonic journey that is perfect for mindfulness practices, meditation and well-being. Also recommended for yoga, spa, healing arts, creativity, study, sleep, and overall stress reduction. Licater loves to create music that takes listeners on an inner journey.
On her six albums, Following the Call (2007), Doorway to a Dream (2010), Invitation from Within (2013), Beyond the Waves (2016), Quiet Spaces: Flute Meditations for Mindfulness and Relaxation (2018), and Whispers from Earth (2022), as in her healing concerts, Ann’s unique approach merges her intuition, spiritual perspective and traditional music background. Her love of wood and clay flutes led her to study with master flutist R. Carlos Nakai (Navajo-Ute) complementing her years of classical flute training at the MacPhail Center for Music in Minneapolis, Minnesota.
Licater’s music accolades range from “Top Ten Best New Age Album” by Amazon music editors, to “Best Relaxation Album” by ZMR Music Awards and beyond. Her music is featured on Sirius XM, Soundscapes, a Music Choice cable radio channel, Pandora and Spotify and as in-flight entertainment for Cathay Pacific Airlines, Virgin Airlines and Air Canada under the music category “Well-Being.” Licater has performed at the World Flute Fest at Carnegie Hall, the Awakened World Conference in Rome and Florence, Italy and at “Sound Body, Sound Mind” Specialty Week at Rancho La Puerta in Tecate. Mexico. She holds a B.A. from University of St. Thomas, and an M.L.A. in Creation Spirituality from Naropa University and divides her time between the San Francisco Bay Area and Southern California.
Whispers From Earth is a meditative album with soft, deeply reflective solo and duet compositions, featuring clay, wood and classical flutes, fluttering and glowing, with a pure and living sound, imagine looking up at the sky and specifically reaching out, possibly silently and alone, maybe with a campfire. Perhaps the earliest signals from Earth came about as a form of whispered prayers.
The first track is the title track, "Whispers from Earth" (4:22), which opens with a deep dry celestial electronics, accompanied by a flute. The sound is secure, with a warm feeling, drawing a celestial glow in from the distance. "Echoes from a Glass Pond" (3:26) is a solo instrument, multi tracked. A tremolo call and return reverberating across the restful expanse of the reflective water. The pace is perfectly slow and relaxing. "Peaceful Prayer" (3:21) is for a solo spirit, the light flickers and incandescence sustains, the quiet slowly reaches the spirit. A piano joins the Gaelic bird spirits, "Luminous Morning" (4:25). The track "Red Cedar Calling" (2:42) stands alone signaling, the cedar spirits are signifying. "Star Stream Dreamer" (6:17), brings an accompanied silver flute, warm flowing breath and weaving patterns, with melodic percussion.
Imagine that the water is perfectly still, the music is essentially calling from the water, "Mirror Lake Reflection" (3:05). "Initiation (Awakening)" (2:59), solo multi tracked splendor, a mysterious double tone summoning the community, calling in new spirits. Track 9, "Silver Soliloquy" (3:46) is entirely solo, playing in a huge reflective chamber, the sound is inside and above, very mindful and present. "Forest Moon Rising" (3:02) tonight calling so clearly, solo classical flute. "Redwood Memories" (3:18), where are they now? Calling low and the voice is dry, a solo wood flute multi tracked. The final track is "Following the Call (Horizons)" (4:07), somewhere a signal is going out into the universe, calling us and we hear it, we consider the possibilities of going further, joined by friends.
“Walking in nature experiencing the subtle and bold beauty of rose gardens, bamboo forests, gentle waves and sunlit pathways colored the sound, texture and feeling tone of the collection of tracks I created. Each one expresses something I felt in that quietude and connection. Recalling visits to the Sequoia National Forest and performing in the forests of Lake Tahoe—both in California—were influences, too,” says Licater.
Whispers from Earth—a collection of 12 tracks including “Peaceful Prayer,” “Redwood Memories” and “Mirror Lake Reflection”—showcases Licater’s distinct artistry on an array of world flutes including Native American, Native American-style, folk and silver alto flutes. Licater serves as executive producer, co-producer, composer, publisher, artist and indie label owner, continuing her foray into world flute-based Contemporary Instrumental and New Age music to soothe the soul, helping listeners find inner peace and well-being.
Music writer Jonathan Widran (JWVibe.com) notes, "In many ways, those whispers Ann shares via her Native American style flutes, Native American flutes, folk flute and Mayan-style drone flute sweep through us as the breath of life itself, giving flight to hope and dreams beyond the day to day."
These flute passages for meditation and inspiration were inspired by Licater’s walks in nature—specifically at The Huntington Library, Art Museum and Botanical Gardens, in San Marino and stretches of the Pacific Coast in Laguna Beach and Malibu—all in California. She thinks of the album as "a 45-minute inner journey" perfect for a walking meditation, a lunchtime listening escape, or anytime one wants to center one's self.
Whispers from Earth debuted on radio with five tracks on the “Deep Flutes” program (airing 11.11.22) on Hearts of Space, a syndicated radio show that is heard by approximately 200,000 listeners per week on 176 National Public Radio (NPR) stations.
Radio focus tracks for the album include “Peaceful Prayer,” performed on Native American-style flute and available as a free downloadable and early access streaming track on select platforms with a pre-sale offering; and “Luminous Morning” featuring Ann on both grand piano and Native American flute.
Reflects Licater, “I revisited the piano and my love for improvising on it. I perform both instruments in this piece, so this combination will be something new for my listeners. I named it 'Luminous Morning' as it feels so joyful to me—reminiscent of fluttering wings in a garden or sunlight bouncing off of ocean waves."
Returning to co-produce with Licater are GRAMMY®-nominated artist, Peter Phippen, and Ivar Lunde, Jr. who also is the recording, mixing and mastering engineer. Musicians joining Licater on Whispers from Earth include Phippen on Shakuhachi (“Whispers from Earth”) and electric bass and Moyo Drum (“Star Stream Dreamer”); Lunde, Jr. on synthesizer (“Whispers from Earth”); and Troy Arnett on synthesizer [“Following the Call (Horizons)]” a nod to Licater’s debut album, Following the Call.
The new album, akin to Licater’s other releases, is an artful, sonic journey designed for mindfulness practices, meditation, well-being, yoga, spa, healing arts, creativity, study, sleep, and stress reduction.
Track Listing:
1. Whispers from Earth
2. Echoes from a Glass Pond
3. Peaceful Prayer
4. Luminous Morning
5. Red Cedar Calling
6. Star Stream Dreamer
7. Mirror Lake Reflection
8. Initiation (Awakening)
9. Silver Soliloquy
10. Forest Moon Rising
11. Redwood Memories
12. Following the Call (Horizons)
Connect with Ann Licater:
Linktr.ee/annlicater
AnnLicater.com
Facebook.com/annlicater
Twitter.com/AnnLicater
Instagram.com/AnnLicater
On her six albums, Following the Call (2007), Doorway to a Dream (2010), Invitation from Within (2013), Beyond the Waves (2016), Quiet Spaces: Flute Meditations for Mindfulness and Relaxation (2018), and Whispers from Earth (2022), as in her healing concerts, Ann’s unique approach merges her intuition, spiritual perspective and traditional music background. Her love of wood and clay flutes led her to study with master flutist R. Carlos Nakai (Navajo-Ute) complementing her years of classical flute training at the MacPhail Center for Music in Minneapolis, Minnesota.
Licater’s music accolades range from “Top Ten Best New Age Album” by Amazon music editors, to “Best Relaxation Album” by ZMR Music Awards and beyond. Her music is featured on Sirius XM, Soundscapes, a Music Choice cable radio channel, Pandora and Spotify and as in-flight entertainment for Cathay Pacific Airlines, Virgin Airlines and Air Canada under the music category “Well-Being.” Licater has performed at the World Flute Fest at Carnegie Hall, the Awakened World Conference in Rome and Florence, Italy and at “Sound Body, Sound Mind” Specialty Week at Rancho La Puerta in Tecate. Mexico. She holds a B.A. from University of St. Thomas, and an M.L.A. in Creation Spirituality from Naropa University and divides her time between the San Francisco Bay Area and Southern California.
Whispers From Earth is a meditative album with soft, deeply reflective solo and duet compositions, featuring clay, wood and classical flutes, fluttering and glowing, with a pure and living sound, imagine looking up at the sky and specifically reaching out, possibly silently and alone, maybe with a campfire. Perhaps the earliest signals from Earth came about as a form of whispered prayers.
The first track is the title track, "Whispers from Earth" (4:22), which opens with a deep dry celestial electronics, accompanied by a flute. The sound is secure, with a warm feeling, drawing a celestial glow in from the distance. "Echoes from a Glass Pond" (3:26) is a solo instrument, multi tracked. A tremolo call and return reverberating across the restful expanse of the reflective water. The pace is perfectly slow and relaxing. "Peaceful Prayer" (3:21) is for a solo spirit, the light flickers and incandescence sustains, the quiet slowly reaches the spirit. A piano joins the Gaelic bird spirits, "Luminous Morning" (4:25). The track "Red Cedar Calling" (2:42) stands alone signaling, the cedar spirits are signifying. "Star Stream Dreamer" (6:17), brings an accompanied silver flute, warm flowing breath and weaving patterns, with melodic percussion.
Imagine that the water is perfectly still, the music is essentially calling from the water, "Mirror Lake Reflection" (3:05). "Initiation (Awakening)" (2:59), solo multi tracked splendor, a mysterious double tone summoning the community, calling in new spirits. Track 9, "Silver Soliloquy" (3:46) is entirely solo, playing in a huge reflective chamber, the sound is inside and above, very mindful and present. "Forest Moon Rising" (3:02) tonight calling so clearly, solo classical flute. "Redwood Memories" (3:18), where are they now? Calling low and the voice is dry, a solo wood flute multi tracked. The final track is "Following the Call (Horizons)" (4:07), somewhere a signal is going out into the universe, calling us and we hear it, we consider the possibilities of going further, joined by friends.
“Walking in nature experiencing the subtle and bold beauty of rose gardens, bamboo forests, gentle waves and sunlit pathways colored the sound, texture and feeling tone of the collection of tracks I created. Each one expresses something I felt in that quietude and connection. Recalling visits to the Sequoia National Forest and performing in the forests of Lake Tahoe—both in California—were influences, too,” says Licater.
Whispers from Earth—a collection of 12 tracks including “Peaceful Prayer,” “Redwood Memories” and “Mirror Lake Reflection”—showcases Licater’s distinct artistry on an array of world flutes including Native American, Native American-style, folk and silver alto flutes. Licater serves as executive producer, co-producer, composer, publisher, artist and indie label owner, continuing her foray into world flute-based Contemporary Instrumental and New Age music to soothe the soul, helping listeners find inner peace and well-being.
Music writer Jonathan Widran (JWVibe.com) notes, "In many ways, those whispers Ann shares via her Native American style flutes, Native American flutes, folk flute and Mayan-style drone flute sweep through us as the breath of life itself, giving flight to hope and dreams beyond the day to day."
These flute passages for meditation and inspiration were inspired by Licater’s walks in nature—specifically at The Huntington Library, Art Museum and Botanical Gardens, in San Marino and stretches of the Pacific Coast in Laguna Beach and Malibu—all in California. She thinks of the album as "a 45-minute inner journey" perfect for a walking meditation, a lunchtime listening escape, or anytime one wants to center one's self.
Whispers from Earth debuted on radio with five tracks on the “Deep Flutes” program (airing 11.11.22) on Hearts of Space, a syndicated radio show that is heard by approximately 200,000 listeners per week on 176 National Public Radio (NPR) stations.
Radio focus tracks for the album include “Peaceful Prayer,” performed on Native American-style flute and available as a free downloadable and early access streaming track on select platforms with a pre-sale offering; and “Luminous Morning” featuring Ann on both grand piano and Native American flute.
Reflects Licater, “I revisited the piano and my love for improvising on it. I perform both instruments in this piece, so this combination will be something new for my listeners. I named it 'Luminous Morning' as it feels so joyful to me—reminiscent of fluttering wings in a garden or sunlight bouncing off of ocean waves."
Returning to co-produce with Licater are GRAMMY®-nominated artist, Peter Phippen, and Ivar Lunde, Jr. who also is the recording, mixing and mastering engineer. Musicians joining Licater on Whispers from Earth include Phippen on Shakuhachi (“Whispers from Earth”) and electric bass and Moyo Drum (“Star Stream Dreamer”); Lunde, Jr. on synthesizer (“Whispers from Earth”); and Troy Arnett on synthesizer [“Following the Call (Horizons)]” a nod to Licater’s debut album, Following the Call.
The new album, akin to Licater’s other releases, is an artful, sonic journey designed for mindfulness practices, meditation, well-being, yoga, spa, healing arts, creativity, study, sleep, and stress reduction.
Track Listing:
1. Whispers from Earth
2. Echoes from a Glass Pond
3. Peaceful Prayer
4. Luminous Morning
5. Red Cedar Calling
6. Star Stream Dreamer
7. Mirror Lake Reflection
8. Initiation (Awakening)
9. Silver Soliloquy
10. Forest Moon Rising
11. Redwood Memories
12. Following the Call (Horizons)
Connect with Ann Licater:
Linktr.ee/annlicater
AnnLicater.com
Facebook.com/annlicater
Twitter.com/AnnLicater
Instagram.com/AnnLicater
Her cover of "Love," words and music by Ralph Blane and Hugh Martin, is the 4th song on 'Now That I Have Everything" and stands out due to her captivating performance and take on the song. It was arrangement by Tedd Firth with Sean Gough and Celia of course provides her fabulous vocals. In the journalist and author Will Friedwald's words, "Celia makes us realize, in a way few singers can, that love is, in fact, never ever the same."
Celia is delicate and deliberate when it comes to her music. She has only respect for the great songwriters that she covers. Her voice is simultaneously grounded and airy, emulating a sense of wonder, passion, and utter joy.
"I very much admire the music of Hugh Martin, whose best-known songs include 'The Trolley Song' and 'Have Yourself a Merry Little Christmas,'" says Celia. "His 'I’m The First Girl (In The Second Row, In The Third Scene of the Fourth Number)' – introduced by Nancy Walker in the Broadway show 'Look, Ma, I’m Dancin’!' – is included in my latest cabaret show. And, with singer Rich Flanders, I recorded ISN’T IT ROMANTIC/WASN’T IT ROMANTIC, in which Martin and Marshall Barer wrote a beautiful countermelody intended for Jeanette McDonald to perform as a duet with her younger self singing the Rodgers & Hart classic."
She continues, "Lena Horne introduced LOVE in the 1945 movie 'Ziegfeld Follies.' There are many wonderful recordings by many great interpreters of the Great American Songbook. Tedd took the arrangement Sean and I had developed and gave it a drive propelled by Rex Benincasa’s percussion. There’s a kind of whiplash to the lyrics of this list song. So I experience the way Tedd tagged “never the same” at the end as a kind of collective exhaustion after an impossible effort to nail down just what love can be."
Listen to "Love"
https://open.spotify.com/track/3c42s13sAuQJAge4LDlwVk?si=ba931d72e1d943bb
Connect with Celia Berk
Website: https://celiaberk.com/
Instagram: https://www.instagram.com/CeliaBerkMusic/
Facebook: https://www.facebook.com/celiaberkmusic/
Twitter: https://twitter.com/CeliaBerkMusic
Spotify: https://open.spotify.com/artist/7yfGXUv669wvFUfFpspUQA?si=Z32pegdWTmqpNe2YWwoioQ
Today, Emily + Shawn’s are issuing a series a singles that will eventually be bundled together as an EP produced by David Baron (Lumineers, Meghan Trainor, Shawn Mendes). The latest single "Mama Told Me" is a fun pop rock song with a George Michael kind of sound and spirit. It's a playful, flirty track they wrote about trying to get themselves out of a funk.
"We wrote 'Mama Told Me' at a time when we were at a crossroads professionally and personally, and felt a bit lost on our path. We love how the rhythm section drives that sense of urgency while still keeping the song energetic and soulful," share the duo.
Though nostalgia is a lyrical and emotional component to the emily + shawn aesthetic, the duo are pop-savvy fearless songwriters, blowing the dust off stodgy traditional music through integrating fresh genre approaches. emily + shawn have been playfully described as “new age folk-pop,” and the pair swirl together catchy melodies, thoughtful lyrics, mesmerizing vocal harmony interlace, and unvarnished storytelling. Within this vibrant mix of sounds, emily + shawn recall diverse influences such as Maggie Rogers, Fleetwood Mac, and the Lumineers.
Listen here: https://open.spotify.com/track/3rs1A3VDRAIF6cFBsPo8g2?si=6dd9b280c4e94898
Connect with Emily + Shawn
Website: https://www.emilyandshawnmusic.com/
Instagram: https://www.instagram.com/emilyplusshawn/
Facebook: https://www.facebook.com/emilyplusshawn/
YouTube: https://www.youtube.com/channel/UCyRw2JhtmUi2P0RSnsJf5bQ
TikTok: https://www.tiktok.com/@emilyplusshawn
Spotify: https://open.spotify.com/artist/34FaOZVHZFudyhuJ6aCPVf
Soundcloud: https://soundcloud.com/emily-plus-shawn
Welcome to our latest ‘Between The Cracks’. You can read a bit about each album and play
it on the website via the Bandcamp player. As always, please support the artists by
purchasing their music. We hope you enjoy reading and listening!
Franck Biyong – Kunde
Immersing himself in sound all over, the new Frank Biyong album is 360 Reality Audio
meets vintage old-school vibes. His latest album is very different from anything we’ve
heard from Biyong before, and it never quite settles into a consistent rhythm (which
is a good thing). Drawing on King Crimson and Tangerine Dream, this is a Krautrock-inspired
cosmic voyage that binds electronic Afro meditation set against towering synths, a sinister
wall of distortion, hard-hitting rhythms and melodic moods.
Buy
https://franckbiyong1.bandcamp.com/album/kunde
Published by CF Smith
https://twistedsoulmusic.org/
it on the website via the Bandcamp player. As always, please support the artists by
purchasing their music. We hope you enjoy reading and listening!
Franck Biyong – Kunde
Immersing himself in sound all over, the new Frank Biyong album is 360 Reality Audio
meets vintage old-school vibes. His latest album is very different from anything we’ve
heard from Biyong before, and it never quite settles into a consistent rhythm (which
is a good thing). Drawing on King Crimson and Tangerine Dream, this is a Krautrock-inspired
cosmic voyage that binds electronic Afro meditation set against towering synths, a sinister
wall of distortion, hard-hitting rhythms and melodic moods.
Buy
https://franckbiyong1.bandcamp.com/album/kunde
Published by CF Smith
https://twistedsoulmusic.org/
BAUL MEETS SAZ (BENGAL-ANATOLIA)
Emre Gültekin - Malabika Brahma - Sanjay Khyapa
Emre Gültekin, singer and player of the saz (a long-necked Anatolian lute) unites the sounds of his instrument with the voice and percussion of Malabika Brahma and Sanjay Khyapa originate from India and have become the musical ambassadors of Baul culture. The Bauls, a marginal Indian community from Bengal, are nomadic and are deeply spiritual, seeking the sacred in human beings rather than in heaven.The Bauls share a similar way of life with the Alevites of Turquie, for whom Emre Gültekin, as a modern troubadour, has made himself the spokesman.
In uniting these two cultures and their musical traditions, Baul Meets Saz creates a strangely modern music, at one and the same time powerful and mystical. Since their first encounter this trio has found the unconditional bond of music and friendship which was reflected on their first CD Namaz in 2018.
This October the trio is presenting their second CD Banjara (nomad in Hindi) from Uren Production in tribute to the philosophy shared in two cultures born by nomadic musicians : respect, humility, devotion to humankind and love...
B A N J A R A
Baul Meets Saz CD release concerts :
22-10-22 : La Louvière, Belgium (BE)
29-10-22 : London Brasserie(BE)
18 - 11- 22 Muziekpublique (BE)
19-11-22 : 32ème Kaléidoscope de la Guitare (BE)
24-11-22 : ZoArt (BE)
29-11-22 : Maison de la Création (BE)
01-12-22 : Salle Ockeghem (FR)
12-12-22 : Festival des musiques sacrées, Mons
15-12-22 : Crix Café (BE)
... More places and dates tbc ...
You want us to play in your place?
More info & Booking :
Follow us on Facebook
Listen to us on Soundcloud
Or simply contact us
baul.meets.saz@gmail.com
Since then, they have released 6 additional singles, as well as a 5 song EP. They even sat in as a drummer with the Sweetwater Allstars at Sweetwater Gearfest in 2018 and 2019. AP is currently focusing on releasing new music and live performance; they've shared the stage with Destroy Boys, Madde, Arial View, and Post Sex Nachos.
AP just released their new EP, 'Devoid,' a 4 song collection of grunge and alternative rock songs. Each song encapsulates topics close to them, revealing parts of themselves with grunge poetry. "False Hearted" speaks on broken promises and fake friends, "Claustrophobia" speaks on their feelings of discomfort within their own skin, "Hostage" speaks to the feelings surrounding the cycle of neglect, and "Devoid" encapsulates grief and anguish. The title track "Devoid" was actually inspired by the anime Attack on Titans. "he plotlines of Attack on Titan are intricate and layered, and it’s one of my favorite shows. I was watching a particularly dark episode and felt inspired to write from the perspective of a scout from the Survey Corps watching their fellow soldiers suffer," shares AP. "I included multiple layers and intricate parts to parallel the inspiration for the song."
Listen here: https://open.spotify.com/album/1U8A2A5dBjeeEdeNXH2fUq?si=HIXtrgOtTOiKidDRxsoNqg
Connect with AP Tobler
Website: https://www.aptobler.com/
Instagram: https://www.instagram.com/ap.tobler/
Facebook: https://www.facebook.com/aptobler/
Twitter: https://twitter.com/ap_tobler
TikTok: https://www.tiktok.com/@aptobler
YouTube: https://www.youtube.com/c/aptobler
Spotify: https://open.spotify.com/artist/6CpwR54QlxHjMMzghyIB6O
Whether on stage, in the studio, or working with students, Ariel Arbisser leads with love and empathy. Her performances simultaneously make audiences and listeners feel seen, heard, and offer a glimpse into how she experiences the highs and lows of the world. Through her lens as a white, Jewish, queer woman, she is transparent when learning out loud and participates in ongoing conversations about mental health, body neutrality, sex positivity, social and racial justice, LGBTQ rights, and more.
Her most recently released electro pop single "Rabbit Hole" is an inner urge for recklessness but being unable to take the leap into it by yourself and waiting for someone to push you in. It's a follow up song to her previous pop hit "Bloodshed," a song that encourages the acceptance of our inner dark side. "The 'dark side' is still enticing, maybe even more comfortable than it was before. The full song sonically is a true, addictive journey downward," reveals Ariel.
Listen here: https://open.spotify.com/track/67lpmT682OvxC4vUMGsYX2?si=55e7e10601b742a8
Connect with Ariel Arbisser
Website: http://www.arielarbisser.com
Instagram: https://instagram.com/ArielArbisser
Twitter: https://twitter.com/ArielArbisser
TikTok: https://tiktok.com/@ArielArbisser
Facebook: https://facebook.com/ArielArbisser
Spotify: https://open.spotify.com/artist/5iuD9ZShZ7turKu93Ghw6G?si=weOz9EgtTGGcG8U9l4T7Rg
The band consists of Rob Phillips on lead vocals, Mike Cupino on drums and sound engineering, Chris Bonelli on Bass, Chip Gardner on keyboard/organ, and Todd Grubbs on lead guitar.
'Beyond the Rainbow' is 9 songs that explore the band's limitations and pushes their musical capabilities. The songs on this album are all story based about women and Rob's own experiences, like their previously released single "High Wire," a metaphor for their experience with the music industry.
The overall sound is very much like the Foo Fighters meets Led Zeppelin, though each song brings their own blend of genres. "Lawless Life" embodies an outlaw country and hard rock sound, like Ozzy Osbourne meets Bob Dylan. "Crazy Legs" has an 80's electro-feel to it. "Red Wings" has a hard rock vibe, like an ACDC meets The Rolling Stones. Those are just a few fun examples from the fusion album.
Listen here:
https://open.spotify.com/album/6uNrkl4MZXnuqpsJkucSHK?si=_fwNRjR2QteZTJQAKFW-ug
Connect with Siren
Website: http://www.Sirenband.com
Instagram: https://www.instagram.com/sirenbandrocks/
Facebook: https://www.facebook.com/SirenBandRocks
Twitter: https://twitter.com/SirenBandRocks
YouTube: https://www.youtube.com/channel/UC87gX0GOxn8Ojb0ncQAP6Rg
Spotify: https://open.spotify.com/artist/67MytrtmhbrvoBedgT4Wu2?si=Jt6hz3CiTNmAY0J3tVcjfA
Casco Duro is a unique blend of Jazz, Latin, and Portuguese traditional music played with an unusual combination of instruments (accordion, cavaquinho, and drums).
You will find our new video "O Galo" on youtube: https://www.youtube.com/watch?v=n8LnlDRcN2c.
Stay tuned!
Mula Ruça
Poetry, and perhaps music too, never needs to explain itself. Can it explain itself? Why should it explain itself!? It just is. Music has many historic traditions, but the art of listening can begin in the world where you are right now. New sounds are being invented, and clocks are ticking, and I merely opine, as one does from time to time. Here are nine tracks, the spirit here is restless and explores or amplifies (distorts?) a wide and changing range of strange clues. The story is layered and complex too. What I find are strange sounds to listen to and that is what I like most. You might say that “odd things to listen to” describes a whole musical genre, but this project is different, it is the strange one in a population of many random contrarians and individualists. The pursuit of music is often playful and imaginative, daring and expositional. This is time spent listening carefully because it is interesting and I want to hear it all, or I might miss something.
What the heck is this sound? (I want more) It is not for exercising to, but it does work as a complex background, in an abstract way. Time is flowing differently sometimes. It is maybe something like experimental jazz or rock or playtime or dance or some time to just quietly sit and listen. There is plenty to listen to. Electronics with harps and flutes and bells and all manner of percussion. Cool sounds. Something to try to focus on as you wait for the daylight.
On the other hand, it does also work as a slow acting soporific, and as a satisfying form of sonic wallpaper. What I hear is a celebration of the individual and a creed of nonconformism, exercising every freedom of choice, giving limitless value to individual dignity, personal love, and creative effort. Perhaps this music is about examining the individual’s knowledge and perception of reality, as well as the individual’s relationship to society, the universe, and God, I am crazy about this, so I am unreliable and hopelessly prejudiced on this matter.What I love are elemental collages exercising granular control of the content, that gets me every time. I want to wonder, is this some kind of a science-fiction thing? Is there a philosophical connection between surrealism in art and existentialism? What would that sound like?
Desensitized is the collaborative project of Deborah Martin and Dean De Benedictis.
Whether collaborating with other artists or working on her own projects, Deborah Martin has been inspiring listeners with her graceful musical journeys on the Spotted Peccary label since 1994. Often powerfully deep, and occasionally playful and carefree, Deborah’s music is always rich and simply beautiful, offering crystal clear visions and magically compelling voyages through an inner realm of ethereal visions, ancestral legends, and timeless places.
Recording under his own name, as well as the alias “Surface 10”, Southern California based composer and electronic musician Dean De Benedictis has been exploring all corners of the ambient music genre since 1996. Dean’s interest in a variety of styles and cultures enriches the quality of his musical expression as he searches for common threads within the fabric of differing genres, drawing from them a natural sense of emotion, expanse and mystery.
Together as Desensitized, the two artists share a common vision to partake in the sublime retreat of sonic beauty, transitioning between elements of the natural world and auspices of modern technology.
Inspired by the mysteries of the afterlife, Chaos In Premonition takes listeners back to the fantastical realms that was recorded live in the studio together, forming nine original pieces from edited improvisations with acoustic instrumentation such as clay ocarinas, flutes and Tibetan bowls and a variety of digital and analog synthesizers. The album is available worldwide today in CD and digital formats: 24-Bit Audiophile, CD Quality Lossless, MP3 downloads, or streaming on the platform of your choice: https://orcd.co/desensitized-cip
“The title ‘Chaos In Premonition’ was cast upon the realization of uniting our intuitive natures during the collaborative process; evolving out of the 'chaos' of thoughts transforming our collective ideas into their compositional form," Martin says, going on to describe the joy of collaboration as discovery; as each artist brings their own unique identity, how their compositional styles will blend is a mystery until uncovered. She continues: “That is what I find most exciting, the endless potential and possibility.”
The title track “Chaos In Premonition” begins in quiet vastness and rises to a bewildering crescendo, then fades to an ethereal chorus. Percussive chimes like raindrops in a cavern rise slowly from shadowy depths, evoking the cosmic. From there, the piece builds a sonic mosaic of skittering breakbeats, glitched fragments and glimmering arpeggiations: the birth of a world from quietude. On “Abundant Time” counter-rhythmic clock samples and heartbeats ebb and flow around sinuous drones and gently plucked strings. The two artists employ a rich amalgamation of acoustic and electronic elements throughout the work. With “Immortals And Their Graves,” De Benedictis’ Mayahachi flute moves from calm lulls to sweeping trills to rhythmic stutterings and back again, capturing in its amorphousness the peaks and valleys of a life. Even vocal elements appear in the finale “Sleep Of Innocence” which finds Martin and De Benedictis harmonizing over celestial chimes, an otherworldly lullaby.
On Chaos In Premonition, the accomplished duo weave the ancient and futuristic into an otherworldly tapestry all their own. From asynchronous perspectives comes sonic synchronicity. De Benedictis says “the essence and originality of Desensitized lies in how Deborah and I are so different.”
Martin adds "Growth as an artist requires getting out of your comfort zone; to push boundaries to see what the potential outcome could become. Chaos In Premonition was such a project - this collaboration became an adventure to reach beyond past projects, exploring the nature of the sounds and recordings, taking the leap to create a new theme as an expansion from the Hemispherica Portalis (Portal of 1000 Years) release, a pathway leading from there with a much deeper and introspective journey."
Chaos in Premonition is an album that invites contradictions and makes peace with them, thanks to the masterful approach of its creators.
Spotted Peccary Music will live stream the album throughout the day on SPMLive: https://linktr.ee/ambientelectronic.tv
Tracklist
1 Ionic Realms [Victronomy Plubonius] 4:52
2 Abundant Time [Stemiostratamos] 4:46
3 Chaos In Premonition [Firestimo Mutato] 8:54
4 Deep Chasm [Subliminostrum] 10:40
5 Mutations Of The Highest Order [MOTHO] 8:47
6 Logic Of Expression [Praetoreum] 5:39
7 Immortals And Their Graves [Sacriligonus] 7:38
8 Crevices In Dark Places [Anexplicora] 7:12
9 Sleep Of Innocence [Embulata] 4:52
Buy/Stream:
Website: https://spottedpeccary.com/shop/chaos-in-premonition/
Bandcamp: https://desensitized-spm.bandcamp.com/album/chaos-in-premonition
Smartlink: https://orcd.co/desensitized-cip
What the heck is this sound? (I want more) It is not for exercising to, but it does work as a complex background, in an abstract way. Time is flowing differently sometimes. It is maybe something like experimental jazz or rock or playtime or dance or some time to just quietly sit and listen. There is plenty to listen to. Electronics with harps and flutes and bells and all manner of percussion. Cool sounds. Something to try to focus on as you wait for the daylight.
On the other hand, it does also work as a slow acting soporific, and as a satisfying form of sonic wallpaper. What I hear is a celebration of the individual and a creed of nonconformism, exercising every freedom of choice, giving limitless value to individual dignity, personal love, and creative effort. Perhaps this music is about examining the individual’s knowledge and perception of reality, as well as the individual’s relationship to society, the universe, and God, I am crazy about this, so I am unreliable and hopelessly prejudiced on this matter.What I love are elemental collages exercising granular control of the content, that gets me every time. I want to wonder, is this some kind of a science-fiction thing? Is there a philosophical connection between surrealism in art and existentialism? What would that sound like?
Desensitized is the collaborative project of Deborah Martin and Dean De Benedictis.
Whether collaborating with other artists or working on her own projects, Deborah Martin has been inspiring listeners with her graceful musical journeys on the Spotted Peccary label since 1994. Often powerfully deep, and occasionally playful and carefree, Deborah’s music is always rich and simply beautiful, offering crystal clear visions and magically compelling voyages through an inner realm of ethereal visions, ancestral legends, and timeless places.
Recording under his own name, as well as the alias “Surface 10”, Southern California based composer and electronic musician Dean De Benedictis has been exploring all corners of the ambient music genre since 1996. Dean’s interest in a variety of styles and cultures enriches the quality of his musical expression as he searches for common threads within the fabric of differing genres, drawing from them a natural sense of emotion, expanse and mystery.
Together as Desensitized, the two artists share a common vision to partake in the sublime retreat of sonic beauty, transitioning between elements of the natural world and auspices of modern technology.
Inspired by the mysteries of the afterlife, Chaos In Premonition takes listeners back to the fantastical realms that was recorded live in the studio together, forming nine original pieces from edited improvisations with acoustic instrumentation such as clay ocarinas, flutes and Tibetan bowls and a variety of digital and analog synthesizers. The album is available worldwide today in CD and digital formats: 24-Bit Audiophile, CD Quality Lossless, MP3 downloads, or streaming on the platform of your choice: https://orcd.co/desensitized-cip
“The title ‘Chaos In Premonition’ was cast upon the realization of uniting our intuitive natures during the collaborative process; evolving out of the 'chaos' of thoughts transforming our collective ideas into their compositional form," Martin says, going on to describe the joy of collaboration as discovery; as each artist brings their own unique identity, how their compositional styles will blend is a mystery until uncovered. She continues: “That is what I find most exciting, the endless potential and possibility.”
The title track “Chaos In Premonition” begins in quiet vastness and rises to a bewildering crescendo, then fades to an ethereal chorus. Percussive chimes like raindrops in a cavern rise slowly from shadowy depths, evoking the cosmic. From there, the piece builds a sonic mosaic of skittering breakbeats, glitched fragments and glimmering arpeggiations: the birth of a world from quietude. On “Abundant Time” counter-rhythmic clock samples and heartbeats ebb and flow around sinuous drones and gently plucked strings. The two artists employ a rich amalgamation of acoustic and electronic elements throughout the work. With “Immortals And Their Graves,” De Benedictis’ Mayahachi flute moves from calm lulls to sweeping trills to rhythmic stutterings and back again, capturing in its amorphousness the peaks and valleys of a life. Even vocal elements appear in the finale “Sleep Of Innocence” which finds Martin and De Benedictis harmonizing over celestial chimes, an otherworldly lullaby.
On Chaos In Premonition, the accomplished duo weave the ancient and futuristic into an otherworldly tapestry all their own. From asynchronous perspectives comes sonic synchronicity. De Benedictis says “the essence and originality of Desensitized lies in how Deborah and I are so different.”
Martin adds "Growth as an artist requires getting out of your comfort zone; to push boundaries to see what the potential outcome could become. Chaos In Premonition was such a project - this collaboration became an adventure to reach beyond past projects, exploring the nature of the sounds and recordings, taking the leap to create a new theme as an expansion from the Hemispherica Portalis (Portal of 1000 Years) release, a pathway leading from there with a much deeper and introspective journey."
Chaos in Premonition is an album that invites contradictions and makes peace with them, thanks to the masterful approach of its creators.
Spotted Peccary Music will live stream the album throughout the day on SPMLive: https://linktr.ee/ambientelectronic.tv
Tracklist
1 Ionic Realms [Victronomy Plubonius] 4:52
2 Abundant Time [Stemiostratamos] 4:46
3 Chaos In Premonition [Firestimo Mutato] 8:54
4 Deep Chasm [Subliminostrum] 10:40
5 Mutations Of The Highest Order [MOTHO] 8:47
6 Logic Of Expression [Praetoreum] 5:39
7 Immortals And Their Graves [Sacriligonus] 7:38
8 Crevices In Dark Places [Anexplicora] 7:12
9 Sleep Of Innocence [Embulata] 4:52
Buy/Stream:
Website: https://spottedpeccary.com/shop/chaos-in-premonition/
Bandcamp: https://desensitized-spm.bandcamp.com/album/chaos-in-premonition
Smartlink: https://orcd.co/desensitized-cip
into industrial ambiance mixed and imagined exclusively
in 360 Reality Audio, a new immersive music experience
driven by spatial sound technology.
KUNDE does not get lost in the EBM barrel but sounds
contemporary, dark, and displaying a detailed kind of
craftsmanship in each shadowy beat thump. It is still
reminiscent of old school, yet it has a new age-sounding
edge in the aggressive instrumental moments and then
the open and calm expressionisms.
This African psychedelic flower of musical innovation’s
beauty resembles some of King Crimson’s improvisation
style with more successful subtle focus, and then follows
dramatic closure movements inspired by Krautrock’s
trademark cosmic voyage-like tones.
KUNDE relies on electronic Afro meditation set against
towering synths, a sinister wall of distortion, hard-hitting
rhythms and melodic moods…A slow soothing space
climax that will send you off into another dimension…”
MUSICIANS
Vox & Percussion - Djanuno Dabo
Bass & Keyboards - Louis Sommer
Keyboards, Beats & Laptop - Benjamin Lafont
Guitars, Keyboards & Samples - FB
The California-based artist just released his second single "Overloaded," a dream pop and lo-fi song about the choices we make in our daily lives. He uses the metaphor of a hugging robot to showcase this idea. The robot experiences human emotions, but its system is not built for it. So the robot has two choices: reboot the system, or the system will get overloaded. As the music video shows, he choses the ladder.
Sometimes we all get stuck in the same routine, complaining that nothing will ever change. If you want a different outcome, you might have to break the cycle like a robot, even though it's risky and the journey will be turbulent. But it's the first step for the change.
“What inspires me in this story is you only get to live once,” shares Yutao. “So do you keep doing the same routine over and over like a robot or trying to take a different route even though it has a high chance of failure? This story reflects my current choice, giving up the architecture job and pursuing music full-time.”
Listen here: https://open.spotify.com/track/3zYHKCWJeKjKxgMPsiLlN0?si=c0baf91448c04541
Watch here: https://youtu.be/gEyX9PCCL1o
2nd album of the French group of Ethiojazz THE SELENITES BAND. French musical collective gathered around by the artist and musician Obi Riddim, it plays an original music anchored between the Ethiopian musical traditions, the psychic grooves of Afrojazz and the Kraütrock.
A first album released in 2019 on the labels STEREOPHONK (France) and P-VINE RECORDS (Japan), THE SELENITES BAND are back with a new recording.
After playing the “classics” of Mulatu Astatke or Girma Beyene, the musicians offers us 9 new songs. Original compositions where we find the melodies and rhythms of the Ethiopian music of “Swinging Addis” mixed with their influences, kraütrock, psychedelic music and afrojazz. An atmosphere of trance with Ethiopian kiñits, tracks that invite you to travel and explore. Recorded during the pandemic, between two confinements and successive curfews, in a vital impetus, this album sounds the gross need to create.
The record is released in vinyl edition on the STEREOPHONK label in standard edition and in limited edition with an alternative screen-printed cover.
Stereophonk is a French label, directed by Dj Martin, who releases records out of passion, following his heart: Estonian Funk jazz which explodes everything (Estrada Orchestra),
Funk, do you want some here, played in the biggest events world Breakdance (Funky Bijou) but also thrilling Bollywood-inspired music (Lord Paramour).
www.stereophonk.bandcamp.com
www.theselenitesband.com
On the verge of self-releasing her debut album, 'This is How I Pray,' it has taken Erika several iterations of herself to get here. She’s learned that change is her constant and her power is her ability to start again.
She just released her new indie pop single "Hungry Little Bird," an upbeat and highly melodic song with a deeper and darker meaning. It was written to honor her partner's struggle and triumph over anorexia. "This song has evolved since its inception and now feels like an aching love letter striving to remind anyone feeling alone or adrift that they are loved and that they belong in this world," shares Erika.
The melody is gripping in "Hungry Little Bird," you'll find that your singing the song at all hours. The beat gets you dancing in your seat. Her voice is absolutely stunning, almost like a Diana Krall meets Ingrid Michaelson. It's sure to knock you off your axis and having you put this on repeat.
Listen here: https://open.spotify.com/track/4X6z8wYQbrMyHGVUxoWhmf?si=62186c929dd3418a
Follow Erika Olson:
Instagram: https://www.instagram.com/erikaolsonmusic/
Facebook: https://www.facebook.com/officialerikaolsonmusic/
Twitter: https://twitter.com/ErikaOlsonMusic
TikTok: https://www.tiktok.com/@erikaolsonmusic
“I don’t want to go to my grave with my stories and songs still inside me,” he says. “I can always make more money, but I can never make more time.”
His sound is a beautiful blend of influences like The Beatles, Tom Petty, and Wilco. There's even a hint of the Dave Matthews band within some of his songs. His songs feature instantly hummable melodies; subtle but smart counterpoint; clever chord sequences; ace musicianship; and vocals that ooze soulful rock n’ roll longing.
As a lyricist, Collins is a poet, a sage, a storyteller, and an empath. He covers the full-spectrum of emotions and the human experience, and he writes with cinematic detail, visceral vulnerability, and clever turns of phrase. Most of the songs on 'It's Been a Long Time' are about love in some way. The title song, the bluesy lament "It's Been a Long Time," and the modern pop rock "Next Time," are songs about lost love. The pop rock anthem "Down Easy" is a tale of a stolen moment of ill-fated barroom passion and "Easy To Fall" is about the ease of falling in love and the difficulty to losing it.
The game-changing song is "Toward the Light," a jazzy song that George originally wrote in his college days a long time ago. It showcases a very evolved outlook. George realized that with this youthful song he had not only reached deep into his soul but also charted the course for the rest of his life – the lyrics he had penned as a student finally made sense to him in late middle-age.
Listen to 'It's Been a Long Time': https://open.spotify.com/album/090WHojzKOaNjThSp4rvQJ?si=WXN7R4seTvGcfoVkL4CYiA
"Tacos de Seis" es un homenaje al fallecido Compositor, Músico, Compatriota y Hermano-N-Armas Puertorriqueño Ángel Junior Santos (USA-Ret.-RIP), quien a lo largo de su carrera compuso canciones para diversas agrupaciones, entre ellas: "Don Perignon & La Puertorriqueña", "Pete Perignon", "Orquesta El Cimarrón", entre otros.
Por otro lado, los arreglos musicales y la producción del videoclip fueron realizados por el Maestro Robert Requena y su equipo de producción en Medellín, Colombia. Además, dicho tema fue dedicado con mucho cariño por parte de Ángel Santos a la Sucursal del Cielo, Cali-Colombia y su bella gente.
Fernandito Rentas sigue dando de qué hablar con su buena música y en la actualidad ha logrado captar la atención del público en el mercado latinoamericano.
"Tacos de Seis" ya se encuentra disponible en todas las plataformas digitales y el videoclip se puede apreciar a través del siguiente enlace: https://youtu.be/m5_5HleC8xY
She just released the 3rd single from the EP, "Till Only Love Remains." This sultry and dramatic piano ballad was written by Robert when he was living alone in an off-grid home he built in the Rocky Mountains. The time in his life was marked by deep self-introspection, and "Till Only Love Remains" was born from a "get honest" place.
The song is achingly beautiful, delicately framing Lenni's smoky vocals with sorrowful strings and low-in-the-mix ethereal touches. She sings "Who reveals the savior/When he preaches the lie? / And who confronts the believer / When they’re afraid to die? / Found by the light / In the dead of the night, it’s a dream / Held by the love / That flows from above like a stream / Nothing left till only love remains."
The lyrics reveal the self-delusion we all eventually face, dismissing and denying all that is true within ourselves while clinging desperately to lies. Into this delirium comes a revelatory chorus blasting redemption onto the spiritual landscape until there is “….nothing left, till only love remains.”
Listen here:
https://open.spotify.com/track/6paZX0acz85XkTKRSqQXFv?si=9fb51b82217048a5
Watch here:
https://www.youtube.com/watch?v=e0e3O5IgQ1k
Connect with Lenni
Website: https://lennirevel.com/
Instagram: https://www.instagram.com/lennirevel/
Facebook: https://www.facebook.com/LenniRevel/
Twitter: https://twitter.com/lennirevel
YouTube: https://www.youtube.com/channel/UCFmU1NHKcFioUL18-j7tPGQ
TikTok: https://www.tiktok.com/@lennirevel
Spotify: https://open.spotify.com/artist/7fasSGyA19ljyzZPYD3sjR
Soundcloud: https://soundcloud.com/user-183415309-92983796?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
Imagine, if you will, that we are more than we think. More even than the universe itself, because the universe is only one expression of the fundamental, grounding, metahuman source that emanates, nurtures, and transcends us all. This is an idea from Deepak Chopra, who suggests there are secrets and techniques to moving beyond our present limitations. Some might disagree with Chopra. Perhaps he offends many traditionalists, both Eastern and Western, with his blending of common-sense wellness, medical intuition and Ayurvedic therapies.
Waking up, we learn, isn’t just about mindfulness or meditation. By going beyond, we can liberate ourselves from the conditioning and constructs that underlie anxiety, tension, and ego-driven demands. Waking up allows life to make sense as never before. To make this as practical as possible, Chopra rounds out the book with a 31-day guide to becoming Metahuman. Once you wake up, he writes, your life becomes transformed, because pure consciousness—which is the field of all possibilities-- then dawns in your life. Only then does your infinite potential become your personal reality.
Chopra unlocks the secrets to moving beyond our present limitations to access a field of infinite possibilities. It means to move past the limitations constructed by the mind and to enter a new state of awareness in which we have deliberate and concrete access to peak experiences that can transform people’s lives from the inside out.
Sverre Knut Johansen has taken on many fantastic themes and notions with his electronic music, such as interstellar travel, secret extraterrestrial technologies, terrestrial time and natural history, evolution itself, dreaming, and with his newest album, Metahuman, he embraces Enlightenment, Awakening, and the Great Liberation, with music to inspire a new spiritual perspective on our life in the Universe with the infinite potential to remove the limiting belief systems and negativity of our personal reality, all in a musical form that brings light to the world.
Deepak Chopra is an Indian-American author and alternative medicine advocate. He has likened the universe to a "reality sandwich" which has three layers: the "material" world, a "quantum" zone of matter and energy, and a "virtual" zone outside of time and space, which is the domain of God, and from which God can direct the other layers. Chopra has frequently said that "aging is simply learned behavior" that can be slowed or prevented. Some of his ideas have caused various medical and scientific professionals to label his work as pseudoscience. Great changes are preceded by chaos, to move past the limitations constructed by the mind.
To become a Metahuman we must unlock our full potential through meditation and open up our creativity, our insight, our imagination, our compassion, our truth, our love, our empathy, our desire for goodness, beauty and harmony. Chopra studied medicine in India before emigrating in 1970 to the United States, where he completed a residency in internal medicine and a fellowship in endocrinology. As a licensed physician, by 1980 he became chief of staff at the New England Memorial Hospital (NEMH). In 1985, he met Maharishi Mahesh Yogi and became involved in the Transcendental Meditation movement and eventually resigned from NEMH to pursue a new vision of healing, eventually establishing such enterprises as the Maharishi Ayurveda Health Center, the Chopra Center for Wellbeing, the Mind-Body Medical Group, the Chopra Foundation, and the American Association for Ayurvedic Medicine.
Chopra has also been described as America's most prominent spokesman for Ayurveda. Ayurveda therapies include herbal medicines, yoga, massage, laxatives, special diets, meditation, enemas, and medical oils. Historical evidence for Ayurvedic texts, terminology and concepts appears from the middle of the first millennium BCE onwards, the main classical Ayurveda texts begin with accounts of the transmission of medical knowledge from the gods to sages, and then to human physicians.
In Ayurvedic texts, balance is emphasized, suppressing natural urges is considered unhealthy and claimed to lead to illness. Ayurvedic practitioners regard physical existence, mental existence, and personality each as their own unique units, with each element being able to influence the others. The political debate about the place of Ayurveda in contemporary India has continued to the present, Ayurveda is heavily practiced in India and Nepal, where perhaps around 80% of the population report using it.
I am not about to further summarize such a complexity, let us immediately turn to focus on the music. What I hear is a full electronic symphony, often with a space-rock form of higher consciousness guiding the way, in places light and sparkly, and in other places much more complex, deep and rich with textures, pulses and powerful melodic wonder. Sverre Knut Johansen mostly plays Sequential Prophet X and Pro 3, opening a portal to deep inner space, employing other instruments as noted in the track details. On three tracks Ståle Storløkken plays Haken Audio Continiuum. This album was mastered by the legendary Howard Givens at Spotted Peccary Studios NW in Portland, Oregon.
From the void comes form, in the shape of a new friend, who has been traveling for years collecting adventures and stories, and at last has arrived. From the form comes motion and dance, “METAHUMAN” (3:37) establishes the groove, a sense of wonderment is invoked, hypnotized by the brilliance of that pulsing core of light, swirling bright gas around the starlike, throbbing core. Storløkken plays Haken Audio Continuum on this track, reflecting the cosmos, including orderliness, balance, harmony, logic, and abstract beauty.
Darker themes emerge on the second track, building into a separate solid form, the power of energy, with cogent strings stretched under a brazen sky, beneath a stupendous Sun. There is a mild rumbling and tumbling off in deep space, some spooky distant synthesizers echoing and swirling in blackness. This is the prodigal otherworldly rover, feeling the kinetic power of the pulse, molding the universe’s chaos, arrayed with the intoxicating colors of coursing energy. This is the longest track, it builds to a powerful beat, the strings take over, and ultimately fades into mist in the end. Do we live in a mind-made fiction? The best use of imagination is creativity. The worst use of imagination is anxiety. “HUMAN (Path Of Destruction)” (10:34), the word destruction is probably more of a daredevil prophesy than a description of the sound. The musical feeling is positive and provides a strong uplifting groove, surely destruction would not have such honest beauty. This concept is different, perhaps the myth of the human as a machine is harmful. To free yourself, Chopra suggests that you open your mind, soul, and body, always to find that consciousness is the sole creator of self, mind, brain, body and the universe. Dig it.
Storløkken plays Haken Audio Continuum on the third track, “Unity Of Existence Through Evolution” (8:48), which is contemplative and gentle, the space rock beat operates within a slow inquisitive mood with changing elements. Lift up your eyes to the sky, on towards unknown worlds of distant stars beyond the wide, uncharted reaches of deep space, into the vastness of space-time, with its myriad stars and planets, the ceaseless drama of life. We are the authors of space-time, we must embrace our true role. The story never begins or ends – it merely ‘becomes,’ and you already possess this ultimate potential. Maybe.
The strength builds and broadens into a wide atmospheric dancing ground, a form that brings light to the world, wide circles, graceful glides, a solid neo-rock beat sustains, the pulse is strong, and rising. You might want to find your sturdy cosmic dancing shoes, much territory is spanned and then floats upwards, to fade into a pleasant extended psychedelic darkness. “Immortal” (5:44) allows life to make sense as never before, life becomes transformed as you explore the infinite potential, the miracle of our very existence. Chopra claims that one may attain "perfect health," free from disease and never age or die. He suggests that human aging is fluid and changeable, it can speed up, slow down, stop for a time, and even reverse itself, yielding indestructible new dimensions of stress-free living and joyful living, positioning building blocks taking you stepping on a journey through this current Fairy Tale we call life, babe.
Sweet slow rising layers build into a powerful pulse with sparkles, then glides upwards, into “META (The Light Inside You)” (6:24). This touches on the forever spirit once again, consistent and nourishing as it wings upwards, repeating circles of light, perhaps an m'bira-core orbit, you might move past the limitation constructed by the mind to encounter a faint-glowing mass of vapor with a brighter core. Along with his collection of synths, electronic percussion, electric guitars, and sound design software, weaving melody, rhythm, and texture into a captivating musical tapestry that constantly evolves, revealing secret treasures from a distant place and bringing light to the world, Johansen plays the Haken ContinuuMini on this track. There is a hidden meaning behind all events, and this hidden meaning, an ancient philosophy Chopra calls The Direct Path, is hopefully serving your own evolution.
Now we are all dancing slowly. “METAHUMAN (Extended)” (9:51) expands the theme, allowing for a new message, explanation, and exploration. Only by going beyond everyday life can we change what it means to be human today. The destination is probably a little bit different because there is more time to establish the image or formation.
The universe has deep resources, a finger of light into the sky, amid wisps of smoke, clouds of silver, places of secrets, elegant and with wisdom hidden in it. There might be a science of dreaming, consciousness is much more than pure abstract reason, crossing the ancient chasm, cautiously emerging into percussive motion and pulse, a dance into the fullness of time and what lies hidden. Journey through echoes to find the sense of awe that astronomers might experience when observing outer space through telescopes, a mind-expanding view into our inner space. In fact it’s thousands of years old; and Storløkken plays the Haken Audio Continuum.
“Fluctuations Of Awareness” (7:55) is slow and thick in places, with textures and surprises that drift and fade in an atmosphere of gradual metamorphosis, I might somehow sense alternate bands of red, blue, yellow, and white strata, a fraction of light, not the violet glimmer which had illuminated the underground ways, but a ghostly radiance. Logistical obstacles are opportunities in disguise. Such openings allow for rhythm and pulses to lead the way up into the vast beyondscape. When you make a choice, you change the future. Sometimes I feel almost like I am looking into a star, looking into the glowing, pulsing core, seeing spatial starlight unfiltered by any atmosphere; and Johansen plays the Haken ContinuuMini on this track.
As we ponder a mind-expanding view into our inner sonic light show, we might veer into a tunnel, the corner turning into a night sky that goes forever, “Miracle Of Existence” (7:34) creates a new paradigm of health for humanity, essential positivity. Gradual deepening and layering, sustaining a slow exploration that is darker in places, always keeping a consistent pulse and life force, this is an inward spin. Imagine wind that sounds a bit like fields of dry whistles and synthesizers, developing into a beat that could be like a heartbeat, and it just keeps going and changing, sometimes a prisoner of the past, otherwise a pioneer of the future, our non-physical experience is a paradoxical journey beyond the physical and the deeply hidden.
On the final track, the always amazing David Helpling activates his electric guitar, synthesizers, and piano, while Johansen plays Steinberger bass guitar in addition to his basic studio wizardly contributions. “Infinity Being” (6:13) brings a haunting melodic atmosphere, full of subtle vistas, a cycling melody that returns to our dream castle. This is where the limitless lingers. The vastness of space-time sings, with its myriad stars and planets moving beyond our present limitations of the mind to access a field of infinite possibilities. We are more than we think.
Sverre Knut Johansen (pronounced Svá-da Ka-núte Yo-hán-sen) hails from Mo i Rana, a lesser-known town in the northern-central Helgeland region of Norway, just below the arctic circle. He has composed electronic works since the early 1990s, developing a strong signature style through the use of melody and forms often thought of as classically-influenced, electronic symphonic compositions. He has previously released material on Origo Sound and his own Origin Music, and has collaborated with artists including Erik Wøllo, David Helpling, and Robert Rich.
This is Johansen’s sixth release on the Spotted Peccary Music Label. His earlier releases are DREAMS BEYOND (SPM-3005), PRECAMBRIAN (SPM-3004), THE VAST EXPANSE (SPM-3003), SECRET SPACE PROGRAM (SPM-3002), and EARTH FROM ABOVE (SPM-3001)
METAHUMAN was mastered by Howard Givens at Spotted Peccary Studios NW. It is available as a physical CD artfully designed by Spotted Peccary’s creative guru, Daniel Pipitone, as well as in digital download format (MP3 (320KBPS), 16-bit CD quality, or 24-bit studio master), and across all streaming platforms. Buy/Stream METAHUMAN: https://spottedpeccary.com/shop/metahuman/ or https://orcd.co/metahuman
WEBSITE https://spottedpeccary.com/
INSTAGRAM https://www.instagram.com/spottedpeccary/
TWITTER https://twitter.com/SpottedPeccary
BANDCAMP https://ambientelectronic.bandcamp.com/
FACEBOOK https://www.facebook.com/spottedpeccary/
Waking up, we learn, isn’t just about mindfulness or meditation. By going beyond, we can liberate ourselves from the conditioning and constructs that underlie anxiety, tension, and ego-driven demands. Waking up allows life to make sense as never before. To make this as practical as possible, Chopra rounds out the book with a 31-day guide to becoming Metahuman. Once you wake up, he writes, your life becomes transformed, because pure consciousness—which is the field of all possibilities-- then dawns in your life. Only then does your infinite potential become your personal reality.
Chopra unlocks the secrets to moving beyond our present limitations to access a field of infinite possibilities. It means to move past the limitations constructed by the mind and to enter a new state of awareness in which we have deliberate and concrete access to peak experiences that can transform people’s lives from the inside out.
Sverre Knut Johansen has taken on many fantastic themes and notions with his electronic music, such as interstellar travel, secret extraterrestrial technologies, terrestrial time and natural history, evolution itself, dreaming, and with his newest album, Metahuman, he embraces Enlightenment, Awakening, and the Great Liberation, with music to inspire a new spiritual perspective on our life in the Universe with the infinite potential to remove the limiting belief systems and negativity of our personal reality, all in a musical form that brings light to the world.
Deepak Chopra is an Indian-American author and alternative medicine advocate. He has likened the universe to a "reality sandwich" which has three layers: the "material" world, a "quantum" zone of matter and energy, and a "virtual" zone outside of time and space, which is the domain of God, and from which God can direct the other layers. Chopra has frequently said that "aging is simply learned behavior" that can be slowed or prevented. Some of his ideas have caused various medical and scientific professionals to label his work as pseudoscience. Great changes are preceded by chaos, to move past the limitations constructed by the mind.
To become a Metahuman we must unlock our full potential through meditation and open up our creativity, our insight, our imagination, our compassion, our truth, our love, our empathy, our desire for goodness, beauty and harmony. Chopra studied medicine in India before emigrating in 1970 to the United States, where he completed a residency in internal medicine and a fellowship in endocrinology. As a licensed physician, by 1980 he became chief of staff at the New England Memorial Hospital (NEMH). In 1985, he met Maharishi Mahesh Yogi and became involved in the Transcendental Meditation movement and eventually resigned from NEMH to pursue a new vision of healing, eventually establishing such enterprises as the Maharishi Ayurveda Health Center, the Chopra Center for Wellbeing, the Mind-Body Medical Group, the Chopra Foundation, and the American Association for Ayurvedic Medicine.
Chopra has also been described as America's most prominent spokesman for Ayurveda. Ayurveda therapies include herbal medicines, yoga, massage, laxatives, special diets, meditation, enemas, and medical oils. Historical evidence for Ayurvedic texts, terminology and concepts appears from the middle of the first millennium BCE onwards, the main classical Ayurveda texts begin with accounts of the transmission of medical knowledge from the gods to sages, and then to human physicians.
In Ayurvedic texts, balance is emphasized, suppressing natural urges is considered unhealthy and claimed to lead to illness. Ayurvedic practitioners regard physical existence, mental existence, and personality each as their own unique units, with each element being able to influence the others. The political debate about the place of Ayurveda in contemporary India has continued to the present, Ayurveda is heavily practiced in India and Nepal, where perhaps around 80% of the population report using it.
I am not about to further summarize such a complexity, let us immediately turn to focus on the music. What I hear is a full electronic symphony, often with a space-rock form of higher consciousness guiding the way, in places light and sparkly, and in other places much more complex, deep and rich with textures, pulses and powerful melodic wonder. Sverre Knut Johansen mostly plays Sequential Prophet X and Pro 3, opening a portal to deep inner space, employing other instruments as noted in the track details. On three tracks Ståle Storløkken plays Haken Audio Continiuum. This album was mastered by the legendary Howard Givens at Spotted Peccary Studios NW in Portland, Oregon.
From the void comes form, in the shape of a new friend, who has been traveling for years collecting adventures and stories, and at last has arrived. From the form comes motion and dance, “METAHUMAN” (3:37) establishes the groove, a sense of wonderment is invoked, hypnotized by the brilliance of that pulsing core of light, swirling bright gas around the starlike, throbbing core. Storløkken plays Haken Audio Continuum on this track, reflecting the cosmos, including orderliness, balance, harmony, logic, and abstract beauty.
Darker themes emerge on the second track, building into a separate solid form, the power of energy, with cogent strings stretched under a brazen sky, beneath a stupendous Sun. There is a mild rumbling and tumbling off in deep space, some spooky distant synthesizers echoing and swirling in blackness. This is the prodigal otherworldly rover, feeling the kinetic power of the pulse, molding the universe’s chaos, arrayed with the intoxicating colors of coursing energy. This is the longest track, it builds to a powerful beat, the strings take over, and ultimately fades into mist in the end. Do we live in a mind-made fiction? The best use of imagination is creativity. The worst use of imagination is anxiety. “HUMAN (Path Of Destruction)” (10:34), the word destruction is probably more of a daredevil prophesy than a description of the sound. The musical feeling is positive and provides a strong uplifting groove, surely destruction would not have such honest beauty. This concept is different, perhaps the myth of the human as a machine is harmful. To free yourself, Chopra suggests that you open your mind, soul, and body, always to find that consciousness is the sole creator of self, mind, brain, body and the universe. Dig it.
Storløkken plays Haken Audio Continuum on the third track, “Unity Of Existence Through Evolution” (8:48), which is contemplative and gentle, the space rock beat operates within a slow inquisitive mood with changing elements. Lift up your eyes to the sky, on towards unknown worlds of distant stars beyond the wide, uncharted reaches of deep space, into the vastness of space-time, with its myriad stars and planets, the ceaseless drama of life. We are the authors of space-time, we must embrace our true role. The story never begins or ends – it merely ‘becomes,’ and you already possess this ultimate potential. Maybe.
The strength builds and broadens into a wide atmospheric dancing ground, a form that brings light to the world, wide circles, graceful glides, a solid neo-rock beat sustains, the pulse is strong, and rising. You might want to find your sturdy cosmic dancing shoes, much territory is spanned and then floats upwards, to fade into a pleasant extended psychedelic darkness. “Immortal” (5:44) allows life to make sense as never before, life becomes transformed as you explore the infinite potential, the miracle of our very existence. Chopra claims that one may attain "perfect health," free from disease and never age or die. He suggests that human aging is fluid and changeable, it can speed up, slow down, stop for a time, and even reverse itself, yielding indestructible new dimensions of stress-free living and joyful living, positioning building blocks taking you stepping on a journey through this current Fairy Tale we call life, babe.
Sweet slow rising layers build into a powerful pulse with sparkles, then glides upwards, into “META (The Light Inside You)” (6:24). This touches on the forever spirit once again, consistent and nourishing as it wings upwards, repeating circles of light, perhaps an m'bira-core orbit, you might move past the limitation constructed by the mind to encounter a faint-glowing mass of vapor with a brighter core. Along with his collection of synths, electronic percussion, electric guitars, and sound design software, weaving melody, rhythm, and texture into a captivating musical tapestry that constantly evolves, revealing secret treasures from a distant place and bringing light to the world, Johansen plays the Haken ContinuuMini on this track. There is a hidden meaning behind all events, and this hidden meaning, an ancient philosophy Chopra calls The Direct Path, is hopefully serving your own evolution.
Now we are all dancing slowly. “METAHUMAN (Extended)” (9:51) expands the theme, allowing for a new message, explanation, and exploration. Only by going beyond everyday life can we change what it means to be human today. The destination is probably a little bit different because there is more time to establish the image or formation.
The universe has deep resources, a finger of light into the sky, amid wisps of smoke, clouds of silver, places of secrets, elegant and with wisdom hidden in it. There might be a science of dreaming, consciousness is much more than pure abstract reason, crossing the ancient chasm, cautiously emerging into percussive motion and pulse, a dance into the fullness of time and what lies hidden. Journey through echoes to find the sense of awe that astronomers might experience when observing outer space through telescopes, a mind-expanding view into our inner space. In fact it’s thousands of years old; and Storløkken plays the Haken Audio Continuum.
“Fluctuations Of Awareness” (7:55) is slow and thick in places, with textures and surprises that drift and fade in an atmosphere of gradual metamorphosis, I might somehow sense alternate bands of red, blue, yellow, and white strata, a fraction of light, not the violet glimmer which had illuminated the underground ways, but a ghostly radiance. Logistical obstacles are opportunities in disguise. Such openings allow for rhythm and pulses to lead the way up into the vast beyondscape. When you make a choice, you change the future. Sometimes I feel almost like I am looking into a star, looking into the glowing, pulsing core, seeing spatial starlight unfiltered by any atmosphere; and Johansen plays the Haken ContinuuMini on this track.
As we ponder a mind-expanding view into our inner sonic light show, we might veer into a tunnel, the corner turning into a night sky that goes forever, “Miracle Of Existence” (7:34) creates a new paradigm of health for humanity, essential positivity. Gradual deepening and layering, sustaining a slow exploration that is darker in places, always keeping a consistent pulse and life force, this is an inward spin. Imagine wind that sounds a bit like fields of dry whistles and synthesizers, developing into a beat that could be like a heartbeat, and it just keeps going and changing, sometimes a prisoner of the past, otherwise a pioneer of the future, our non-physical experience is a paradoxical journey beyond the physical and the deeply hidden.
On the final track, the always amazing David Helpling activates his electric guitar, synthesizers, and piano, while Johansen plays Steinberger bass guitar in addition to his basic studio wizardly contributions. “Infinity Being” (6:13) brings a haunting melodic atmosphere, full of subtle vistas, a cycling melody that returns to our dream castle. This is where the limitless lingers. The vastness of space-time sings, with its myriad stars and planets moving beyond our present limitations of the mind to access a field of infinite possibilities. We are more than we think.
Sverre Knut Johansen (pronounced Svá-da Ka-núte Yo-hán-sen) hails from Mo i Rana, a lesser-known town in the northern-central Helgeland region of Norway, just below the arctic circle. He has composed electronic works since the early 1990s, developing a strong signature style through the use of melody and forms often thought of as classically-influenced, electronic symphonic compositions. He has previously released material on Origo Sound and his own Origin Music, and has collaborated with artists including Erik Wøllo, David Helpling, and Robert Rich.
This is Johansen’s sixth release on the Spotted Peccary Music Label. His earlier releases are DREAMS BEYOND (SPM-3005), PRECAMBRIAN (SPM-3004), THE VAST EXPANSE (SPM-3003), SECRET SPACE PROGRAM (SPM-3002), and EARTH FROM ABOVE (SPM-3001)
METAHUMAN was mastered by Howard Givens at Spotted Peccary Studios NW. It is available as a physical CD artfully designed by Spotted Peccary’s creative guru, Daniel Pipitone, as well as in digital download format (MP3 (320KBPS), 16-bit CD quality, or 24-bit studio master), and across all streaming platforms. Buy/Stream METAHUMAN: https://spottedpeccary.com/shop/metahuman/ or https://orcd.co/metahuman
WEBSITE https://spottedpeccary.com/
INSTAGRAM https://www.instagram.com/spottedpeccary/
TWITTER https://twitter.com/SpottedPeccary
BANDCAMP https://ambientelectronic.bandcamp.com/
FACEBOOK https://www.facebook.com/spottedpeccary/
He recently released his second solo album called 'Artificial Breed,' an avante pop, electronic, and synth collection of 11 songs. The name of the album speaks to the melding of synthetic with organic musicality before even listening, giving you an expectation of mostly electronic sounds.
'Artificial Breed' is a collaboration between Kris and ex-Front Line Assembly drummer Jason Bazinet. As the story goes, Jason heard “Midnight Dive” and was moved to email Kris, offering seedling music ideas for a future project. Kris sifted through 300 of Jason’s demos, and cherry-picked 10 tracks. He fleshed out these core ideas with orchestration and lush production, and they now live on Artificial Breed.
Listen to 'Artificial Breed' here: https://open.spotify.com/album/1D8QDptXsdjTPdf6EwHsCQ?si=arZjdKJ0SXida6BAsNNbUg
Connect with Kris "Halo" Pierce
Website: http://www.haloaskewent.com
Instagram: https://www.instagram.com/haloaskew
Facebook: https://www.facebook.com/HaloAskewEnt
Twitter: https://www.twitter.com/haloaskew
YouTube: https://www.youtube.com/channel/UCFovL0TN6pC1zTOcbbPEU3w
Spotify: https://open.spotify.com/artist/19b7jJlFKtIjnDUyAPs2Wy?si=CiVKgn4kRaWhGblst7mlWw
He has always wanted to release his own solo album, but never focused on himself and focused on others music as he owned his own recording studio and production company. Only after his career took a hit due to his overindulgence did he finally take the leap and create his own record, 'Spirit Blues,' to be released later this year.
He just released his 3rd single from 'Spirit Blues' called "Broken Bones." It's an anthem-like roots rock and blues rock song that has a Jackson Browne familiarity in both his voice and sound. The song grapples with the feeling of hopelessness in himself and society as a whole, while also acknowledging resilience. He sings with purpose in lyrics like "Left to die on the side of the road/Nothing left to show/But these broken bones and busted soles/I didn’t see you coming/I didn’t hear you calling/And I fade."
"Broken Bones" features an all-star cast of Colorado based musicians, including Adam Deitch (Lettuce, Break Science, John Scofield), Garret Sayers (The Motet), Marcus Rezak (Shred Is Dead, Digital Tape Machine) and Bill McKay (formerly of Leftover Salmon, Derek Trucks Band).
Listen here: https://open.spotify.com/track/0NhVKbeUrUI05dw8zu4gnd?si=4ed8560c6ca94ee6
Writing under the name A. W. Emersleben, she released her album “Dream World” in 2020, the title track becoming her most successful release to date receiving 100k streams on Spotify alone.
Ámaris received her formal training at drama school in Zurich, with Isabel Kempinski in Voice, and later at the Stage & Musical School in Frankfurt, Germany, where she started to listen to electronic music for her dance studies, which made her discover the genre for herself. Being new to subjects such as Ballet, Jazz Dance, and Modern Dance, Ámaris needed to train in the evenings in her free time to achieve the levels of the other students. She found that her new-found passion for electronic music helped and then started the dance floor project “Geiko– female electronic dance music”
After returning from Germany to Zurich to complete a degree in Business Law, she was able to work as a playlist manager for Sony Music. She later moved to London where she started working on her first more R&B and synthpop-influenced album “Neon Colours”, which was well-received by critics.
As one of few female music producers, Ámaris’ skills in combining genres such as electronica, R&B, and pop have defined her music as being genre-defying. She is very vocal on the protection of the oceans and is an ambassador for the non-profit organization Big Blue Ocean Clean-up, which works on reducing plastic waste in the oceans. Her fantasy story “Lagoona: A Journey through the Reef,” published in 2022, raises awareness for the disappearing coral reefs and ocean pollution.
As an actress, she will appear in a production of the play “Last of the Red Hot Lovers” this year, in which she will play the character of “Elaine”.
Ámaris is currently working on a music documentary ‘On Tape’, in which female and non-binary music producers will answer questions about their work. 10 questions, 10 music producers, no wrong answers! The short form documentary is a collaboration with L.A.-based Maria Corso of female- owned production company Two Foot Five Productions.
Listen to "Been Doing This": https://open.spotify.com/track/2zJkuiDMht0ES5mG2MsMRs?si=644997f06ac84052
“Black Charger” was inspired by Slim’s commute to Washington, DC. “Having lived in the Baltimore/Washington area for many years this is something that I have learned to avoid if possible. It’s pretty crowded at the best of times and kind of a madhouse of the driving world at others” Slim explains. “I try to stay relaxed and on point in this driving environment and started to notice that when traffic got chaotic there was often an aggressive driver in a Black Dodge Charger involved.”
“Black Charger” mixes roots rock with indie pop and hip-hop, like a Beastie Boys meets John Lennon meets Steve Earle. The saxophone riffs in the track are bound to get stuck in any listener's ear. The verses break down to soft drums, rhythmic acoustic guitar, and a bouncing bass line to let Slim’s lyrics stand out. The organ pays homage to 60’s-70’s rock/roots rock music. “Black Charger” has a jam band vibe, that will have you making the “stank face” when listening. Listen to “Black Charger” on all music streaming platforms, and make sure to follow Slim on all socials to not miss any updates!
Listen here: https://open.spotify.com/track/7A4Mrx8QJv0MImRruMElbX?si=1b0730e8a4604018
I hope everyone enjoys the new music I am releasing now and next month. Life needs more smiling faces.
The BU Global Music Festival is a free, family-friendly event at Boston University. This year’s festival line-up includes some high-energy powerhouses that will throw down a party: Mexican marimba-punk band Son Rompe Pera (Boston debut) to Malawian street musician duo Madalitso (Boston debut) playing home-made instruments; and the three-time winner of the second largest carnival in Latin America Bazurto All Stars (Boston debut), a serious powerhouse party band hailing from Colombia. Then, on the other end of the spectrum, we have a few who are exploring their folkloric and traditional sounds: Indonesian percussion/dance troupe Saung Budaya; Yamma Ensemble (Boston debut) that weaves together musical styles from Jewish diasporas across the Mediterranean and the Middle East; and Kingfisher Singers and Dancers, who will be representing the Indigenous Wampanoag voices from our very own region. Somewhere in the middle are the quirky trad-electro-pop duo Puluup (Boston debut) from Estonia and the Ethiopian trad-experimental quintet Qwanqwa (Boston debut), both of whom manage to combine vernacular styles with experimental modern sounds to generate their own unique sounds. (Photo: Bazurto All Stars)
The Southwest region of North America is full of breathtaking scenery, barren rocks juxtaposed in desert wilderness, great-walled stone canyons, blending cowboy influences with Mexican and Spanish traditions. Renowned pianist/composer Elizabeth Naccarato’s A Southwest Story draws you into this scenic world with her consistently calm, sensitive and well-arranged album of instrumental music with a bright Southwestern flavor. Each composition is a concentrated gem on a topic related to the broad area known as the Southwest.
One might say Elizabeth Naccarato is a romantic. She is known to compose entire albums when a place and its people speak to her soul. Produced by Michael Gettel, an exciting pianist and composer in his own right, the works range from solo piano to contemporary instrumental piano pieces accented by guitar, bass, violin, mandolin, percussion and accordion. Featured performers include Leon Christian (guitar and bass) and Nancy Rumbel (Native flute and English horn). Naccarato composed and arranged the genre-defying album, with the exceptions of "The Spanish Dance No. 2" by Enrique Granados, and "Fandango" by Federico Moreno Torroba.
Early singles "Dusk" and "Sacred Land" convey the stunning pastel sunsets, and the physical beauty of the land between Ute Mountain and Mt. Blanca, which is said to be sacred. Rumbel's Native American flute adds a hauntingly beautiful quality to "Shrine of the Stations of the Cross" an homage to San Luis' spiritual attraction of the same name. People visit from all over the world to seek its solace and to take in the breathtaking views on this trail of bronze sculptures (from 3/4 to life size, representing the 15 stations of the cross), which are positioned along a trail on a mesa in the center of San Luis.
"From whimsical tunes to waltzes to classical covers of Spanish composers to reverent pieces honoring religious traditions of old, and slow dreamy solo piano sequences reflecting on the region’s beauty and the natural elements, A Southwest Story offers a relaxing and uplifting 'auralscape' to a fascinating place," wrote Lissette Cascante, of the Auralscapes music blog and podcast.
Favoring the album's more classical influences, Kathy Parsons (Mainly Piano) wrote “...my favorite piece on the album (“Flower Moon”), Chopin's influence can definitely be heard in the graceful nature of the music. Ahhhh!”
A native Texan, Naccarato began her piano studies at the age of six at the Dominican Convent in Houston. She won her first piano competition at the age of nine and performed and competed in local and statewide events; later, she was a Piano Performance major at the University of Southern California where she earned her degree, and was a three-time winner of the Hollywood Alumni S.A.I Scholarship as well as a highly-coveted Teaching Assistantship in graduate school. She joined the Annie Wright Schools faculty in 1999 and has been an affiliate faculty at The University of Puget Sound since 1989. Much of her instruction is in piano and voice, but she also has directed dozens of regional theater presentations of plays and musicals.
San Luis, Colorado, is a very old town with the Stations of the Cross being one of the main focal points, and the opening track, "San Luis" (4:42) has a nostalgic sweet sad feeling, a familiar sounding traditional song given tender treatment, piano seasoned with guitar and mandolin.
The Spanish reintroduced the horse to the Americas, beginning in the late 15th century, free-roaming herds evolved in North America, struggling with the harsh climate. "Wild Horses" (2:58) has a very Spanish feeling, violin behind the piano with just a hint of percussion, feel the horses glide through the landscape.
To the oldest inhabitants of the Southwestern desert regions, respect for nature comes from a deep connection to the land; to the European way of seeing the world, the land is a commercial resource given by God for men to develop and yield wealth. Both experience the stillness, vastness, and harsh beauty and sense the importance of finding a necessary balance. The piano melody and violin joins and the melody weaves the story of the land, opening a more detailed lamentation of the history of the territory, "Sacred Land" (5:08) reminds us that sacred places strengthen the earth’s biological and cultural diversity, inspiring reverence for land and cultural diversity, and connect nature and culture.
"Mi Hito, No!" (4:12) has a traditional feeling, sad stories are the most compelling. Time to dance the cha cha cha, congas and hand percussion with piano and violin. Next, "Fandango" (1:48) features piano with fancy classical Spanish guitar thrills and sparkles. The Fandango is a lively partner dance originating from Portugal and Spain, two male dancers face each other, dancing and tap-dancing one at a time, showing which has the most lightness and repertoire of feet in motion, swift changes in the tap-dancing, seeing which one of them makes the feet transitions more eye-catching. The word fandango is sometimes also used as a synonym for "a quarrel", "a big fuss", or "a brilliant exploit."
Now for a romantic instrumental tale, "Brown Eyes" (4:12), a drum set with cymbals, accordion, castanets and glockenspiel joins the piano, celebrating the calm patience enduring the metallic brightness of a hot sun. "Spanish Dance No. 2 by Granados" (5:25) is a slow dance with lots of colorful fabrics, sad and rich with a quiet feeling, gentle as a breeze of spring. The hot, soft wind of the desert kisses our faces, all around the horizon bare volcanic peaks burn into the blue. Sometimes a whirlwind of dust travels rapidly over the plain, making one ponder what would happen should it gyrate into the vachtoe. "La Sierra" (4:38) is an ode to the mountains in the distance and forever, a range of mountains especially with a serrated or irregular outline. The sound is quiet and full, along with the piano, chimes shiver in a breeze.
The Stations of the Cross or the Way of the Cross, also known as the Way of Sorrows or the Via Crucis, refers to a series of images and sculptures depicting Jesus Christ on the day of his crucifixion and accompanying prayers. There is a famous Stations of the Cross Shrine located in Colorado's oldest town, San Luis, Colorado. Huberto Maestas was the sculptor for all of the statues. "Shrine of the Stations of the Cross" (3:33) is a sacred story, featuring piano and flute.
Vega is the brightest star in the northern constellation of Lyra, and lies at a vertex of a widely spaced asterism called the Summer Triangle, which consists of Vega plus the two first-magnitude stars Altair, in Aquila, and Deneb in Cygnus. "The Vega" (4:31) is a piano solo with a deliciously lighter sensation, invoking the Southwest's beautiful skies.
The sun is setting with all its melancholy splendor, "Dusk" (4:08) is a tribute to the end of the day, and the beginning of the night, piano and guitar are joined by a violin as the light becomes a rainbow magnified even beyond dreams, a thing not transparent and ethereal, but solidified, a work of ages, sweeping up majestically from the red walls, its iris-hued arch against the blue sky.
The single “Dusk” https://elizabethnaccarato.hearnow.com/dusk
The cowboy has deep historical roots tracing back to Spain and the earliest European settlers of the Americas. A cowboy is an animal herder who tends cattle on ranches traditionally on horseback, and often performs a multitude of other ranch-related tasks. The "cowboy code" of Gene Autry encouraged honorable behavior, mutual respect and patriotism. Dance was an important social activity in the Old West and the level of social skill was generally high. Men and women take turns sharing the pulse of the dance, couples moving in a circular motion across the floor. The track "Cowboy's Waltz" (3:30) features a full dancehall feeling with hand percussion, high hat and accordian.
"Flower Moon" (3:36) is a piano solo that closes A Southwest Story, a lovely portrait of the full moon in May. The Flower Moon is named after the abundant flowers that grow in the spring. Native Americans called it the Budding Moon, Egg Laying Moon, and Planting Moon. The Celtic and Old English names are Mothers’ Moon, Bright Moon, Hare Moon, and Grass Moon.
The Southwest is the hottest and driest region in the United States, where the availability of water has defined its landscapes and history of human settlement. The Southwest landscape is a dry climate with sparse grass, thus large herds of cattle requiring vast amounts of land to obtain sufficient forage gave rise to the development of the horseback-mounted vaquero traditions of northern Mexico. It is a strange land, a desert overgrown with strange soft-tinted weeds, “salt weeds,” pink, red, green, gray, blue, purple; the rich-green yellow-flowering greasewood; odd cacti, and all manner of thorn bearing bushes, haunted by its loneliness and silence and beauty. It appears endless, a strange world of colossal shafts and buttes of rock, magnificently sculptured, standing isolated and aloof, dark, weird, and lonely.
Therein lies the joy, sweet and also vague, the secret of the wonderful sensations of strange familiarity with wild places. The origins of the cowboy tradition come from Spain, beginning with the hacienda system of medieval Spain. These hearty pioneers of the Southwest interacted with and relied on an unfamiliar environment, utilizing storytelling in order to pass on memory, spark imagination, and make sense of their relationship to this harsh earth.
A native Texan, Elizabeth began her piano studies at the age of six at the Dominican Convent in Houston. She won her first piano competition at the age of nine and performed and competed in local and statewide events. Elizabeth was a Piano Performance major at the University of Southern California where she earned her degree, and was a three-time winner of the Hollywood Alumni S.A.I Scholarship as well as a highly-coveted Teaching Assistantship in graduate school. She joined the Annie Wright Schools faculty in 1999 and has been an affiliate faculty at The University of Puget Sound since 1989. Much of her instruction is in piano and voice, but she also has directed dozens of regional theater presentations of plays and musicals. Elizabeth Naccarato’s previous recordings are Jarrell’s Cove (inspired by the coastline of Puget Sound near Seattle and produced by pianist Michael Gettel), North Sycamore (named for a street in West Los Angeles where she spent an early stage of her career, with special guests oboist Nancy Rumbel and saxophonist Richard Warner), Stone Cottage (inspired by a special residence with a wild garden), One Piano (a collaboration with Gettel), History (combining some of her best work with both new and live performances), Souvenir d’Italia which was inspired by one of her favorite places, and now A Southwest Story, a tribute to the Southwestern part of the United States of America.
This newest album enhances the vision of the growing collection of exquisite piano interpretations of various aspects of specific locations and contexts, as well as life itself. Elizabeth Naccarato has achieved a noteworthy translation of the spirit of the land, its cultural history and the flavors and elemental aspects. Each note fits into a magnificent audio portrait of the Southwest, from the environment to how it feels to be there, a hot sun, spirits in the canyons, the languages and religious iconography are included in the melodies and musical forms.
Previous recordings by Naccarato include Jarrell’s Cove, North Sycamore, Stone Cottage, One Piano (a collaboration with Gettel), History, and Souvenir d’Italia, all available through her official website and Amazon.com.
Naccarato is preparing to announce upcoming live performances for this Fall 2022; watch her website and social media for the cities, dates and ticket links.
Music fans can link to buy or stream A Southwest Story from their favorite platform here: https://elizabethnaccarato.hearnow.com/a-southwest-story
Tracklist:
1 San Luis (4:42)
2 Wild Horses (2:58)
3 Sacred Land (5:08)
4 Mi Hito, No! (4:12)
5 Fandango (1:48)
6 Brown Eyes (4:12)
7 Spanish Dance No. 2 by Granados (5:25)
8 La Sierra (4:38)
9 Shrine of the Stations of the Cross (3:33)
10 The Vega (4:31)
11 Dusk (4:08)
12 Cowboy's Waltz (3:30)
13 Flower Moon (3:36)
Links:
WEBSITE: http://elizabethnaccarato.com/
SPOTIFY: https://open.spotify.com/artist/0REXjQLt79Pi2YZO31goUl?autoplay=true
YOUTUBE: https://www.youtube.com/c/Naccaratonetwork/videos
AMAZON: https://www.amazon.com/Elizabeth-Naccarato/e/B000APAEXS
FACEBOOK: https://www.facebook.com/elizabethnaccaratopianist
INSTAGRAM: https://www.instagram.com/elizabethgettel/
APPLE: https://music.apple.com/us/album/a-southwest-story/1632306586
One might say Elizabeth Naccarato is a romantic. She is known to compose entire albums when a place and its people speak to her soul. Produced by Michael Gettel, an exciting pianist and composer in his own right, the works range from solo piano to contemporary instrumental piano pieces accented by guitar, bass, violin, mandolin, percussion and accordion. Featured performers include Leon Christian (guitar and bass) and Nancy Rumbel (Native flute and English horn). Naccarato composed and arranged the genre-defying album, with the exceptions of "The Spanish Dance No. 2" by Enrique Granados, and "Fandango" by Federico Moreno Torroba.
Early singles "Dusk" and "Sacred Land" convey the stunning pastel sunsets, and the physical beauty of the land between Ute Mountain and Mt. Blanca, which is said to be sacred. Rumbel's Native American flute adds a hauntingly beautiful quality to "Shrine of the Stations of the Cross" an homage to San Luis' spiritual attraction of the same name. People visit from all over the world to seek its solace and to take in the breathtaking views on this trail of bronze sculptures (from 3/4 to life size, representing the 15 stations of the cross), which are positioned along a trail on a mesa in the center of San Luis.
"From whimsical tunes to waltzes to classical covers of Spanish composers to reverent pieces honoring religious traditions of old, and slow dreamy solo piano sequences reflecting on the region’s beauty and the natural elements, A Southwest Story offers a relaxing and uplifting 'auralscape' to a fascinating place," wrote Lissette Cascante, of the Auralscapes music blog and podcast.
Favoring the album's more classical influences, Kathy Parsons (Mainly Piano) wrote “...my favorite piece on the album (“Flower Moon”), Chopin's influence can definitely be heard in the graceful nature of the music. Ahhhh!”
A native Texan, Naccarato began her piano studies at the age of six at the Dominican Convent in Houston. She won her first piano competition at the age of nine and performed and competed in local and statewide events; later, she was a Piano Performance major at the University of Southern California where she earned her degree, and was a three-time winner of the Hollywood Alumni S.A.I Scholarship as well as a highly-coveted Teaching Assistantship in graduate school. She joined the Annie Wright Schools faculty in 1999 and has been an affiliate faculty at The University of Puget Sound since 1989. Much of her instruction is in piano and voice, but she also has directed dozens of regional theater presentations of plays and musicals.
San Luis, Colorado, is a very old town with the Stations of the Cross being one of the main focal points, and the opening track, "San Luis" (4:42) has a nostalgic sweet sad feeling, a familiar sounding traditional song given tender treatment, piano seasoned with guitar and mandolin.
The Spanish reintroduced the horse to the Americas, beginning in the late 15th century, free-roaming herds evolved in North America, struggling with the harsh climate. "Wild Horses" (2:58) has a very Spanish feeling, violin behind the piano with just a hint of percussion, feel the horses glide through the landscape.
To the oldest inhabitants of the Southwestern desert regions, respect for nature comes from a deep connection to the land; to the European way of seeing the world, the land is a commercial resource given by God for men to develop and yield wealth. Both experience the stillness, vastness, and harsh beauty and sense the importance of finding a necessary balance. The piano melody and violin joins and the melody weaves the story of the land, opening a more detailed lamentation of the history of the territory, "Sacred Land" (5:08) reminds us that sacred places strengthen the earth’s biological and cultural diversity, inspiring reverence for land and cultural diversity, and connect nature and culture.
"Mi Hito, No!" (4:12) has a traditional feeling, sad stories are the most compelling. Time to dance the cha cha cha, congas and hand percussion with piano and violin. Next, "Fandango" (1:48) features piano with fancy classical Spanish guitar thrills and sparkles. The Fandango is a lively partner dance originating from Portugal and Spain, two male dancers face each other, dancing and tap-dancing one at a time, showing which has the most lightness and repertoire of feet in motion, swift changes in the tap-dancing, seeing which one of them makes the feet transitions more eye-catching. The word fandango is sometimes also used as a synonym for "a quarrel", "a big fuss", or "a brilliant exploit."
Now for a romantic instrumental tale, "Brown Eyes" (4:12), a drum set with cymbals, accordion, castanets and glockenspiel joins the piano, celebrating the calm patience enduring the metallic brightness of a hot sun. "Spanish Dance No. 2 by Granados" (5:25) is a slow dance with lots of colorful fabrics, sad and rich with a quiet feeling, gentle as a breeze of spring. The hot, soft wind of the desert kisses our faces, all around the horizon bare volcanic peaks burn into the blue. Sometimes a whirlwind of dust travels rapidly over the plain, making one ponder what would happen should it gyrate into the vachtoe. "La Sierra" (4:38) is an ode to the mountains in the distance and forever, a range of mountains especially with a serrated or irregular outline. The sound is quiet and full, along with the piano, chimes shiver in a breeze.
The Stations of the Cross or the Way of the Cross, also known as the Way of Sorrows or the Via Crucis, refers to a series of images and sculptures depicting Jesus Christ on the day of his crucifixion and accompanying prayers. There is a famous Stations of the Cross Shrine located in Colorado's oldest town, San Luis, Colorado. Huberto Maestas was the sculptor for all of the statues. "Shrine of the Stations of the Cross" (3:33) is a sacred story, featuring piano and flute.
Vega is the brightest star in the northern constellation of Lyra, and lies at a vertex of a widely spaced asterism called the Summer Triangle, which consists of Vega plus the two first-magnitude stars Altair, in Aquila, and Deneb in Cygnus. "The Vega" (4:31) is a piano solo with a deliciously lighter sensation, invoking the Southwest's beautiful skies.
The sun is setting with all its melancholy splendor, "Dusk" (4:08) is a tribute to the end of the day, and the beginning of the night, piano and guitar are joined by a violin as the light becomes a rainbow magnified even beyond dreams, a thing not transparent and ethereal, but solidified, a work of ages, sweeping up majestically from the red walls, its iris-hued arch against the blue sky.
The single “Dusk” https://elizabethnaccarato.hearnow.com/dusk
The cowboy has deep historical roots tracing back to Spain and the earliest European settlers of the Americas. A cowboy is an animal herder who tends cattle on ranches traditionally on horseback, and often performs a multitude of other ranch-related tasks. The "cowboy code" of Gene Autry encouraged honorable behavior, mutual respect and patriotism. Dance was an important social activity in the Old West and the level of social skill was generally high. Men and women take turns sharing the pulse of the dance, couples moving in a circular motion across the floor. The track "Cowboy's Waltz" (3:30) features a full dancehall feeling with hand percussion, high hat and accordian.
"Flower Moon" (3:36) is a piano solo that closes A Southwest Story, a lovely portrait of the full moon in May. The Flower Moon is named after the abundant flowers that grow in the spring. Native Americans called it the Budding Moon, Egg Laying Moon, and Planting Moon. The Celtic and Old English names are Mothers’ Moon, Bright Moon, Hare Moon, and Grass Moon.
The Southwest is the hottest and driest region in the United States, where the availability of water has defined its landscapes and history of human settlement. The Southwest landscape is a dry climate with sparse grass, thus large herds of cattle requiring vast amounts of land to obtain sufficient forage gave rise to the development of the horseback-mounted vaquero traditions of northern Mexico. It is a strange land, a desert overgrown with strange soft-tinted weeds, “salt weeds,” pink, red, green, gray, blue, purple; the rich-green yellow-flowering greasewood; odd cacti, and all manner of thorn bearing bushes, haunted by its loneliness and silence and beauty. It appears endless, a strange world of colossal shafts and buttes of rock, magnificently sculptured, standing isolated and aloof, dark, weird, and lonely.
Therein lies the joy, sweet and also vague, the secret of the wonderful sensations of strange familiarity with wild places. The origins of the cowboy tradition come from Spain, beginning with the hacienda system of medieval Spain. These hearty pioneers of the Southwest interacted with and relied on an unfamiliar environment, utilizing storytelling in order to pass on memory, spark imagination, and make sense of their relationship to this harsh earth.
A native Texan, Elizabeth began her piano studies at the age of six at the Dominican Convent in Houston. She won her first piano competition at the age of nine and performed and competed in local and statewide events. Elizabeth was a Piano Performance major at the University of Southern California where she earned her degree, and was a three-time winner of the Hollywood Alumni S.A.I Scholarship as well as a highly-coveted Teaching Assistantship in graduate school. She joined the Annie Wright Schools faculty in 1999 and has been an affiliate faculty at The University of Puget Sound since 1989. Much of her instruction is in piano and voice, but she also has directed dozens of regional theater presentations of plays and musicals. Elizabeth Naccarato’s previous recordings are Jarrell’s Cove (inspired by the coastline of Puget Sound near Seattle and produced by pianist Michael Gettel), North Sycamore (named for a street in West Los Angeles where she spent an early stage of her career, with special guests oboist Nancy Rumbel and saxophonist Richard Warner), Stone Cottage (inspired by a special residence with a wild garden), One Piano (a collaboration with Gettel), History (combining some of her best work with both new and live performances), Souvenir d’Italia which was inspired by one of her favorite places, and now A Southwest Story, a tribute to the Southwestern part of the United States of America.
This newest album enhances the vision of the growing collection of exquisite piano interpretations of various aspects of specific locations and contexts, as well as life itself. Elizabeth Naccarato has achieved a noteworthy translation of the spirit of the land, its cultural history and the flavors and elemental aspects. Each note fits into a magnificent audio portrait of the Southwest, from the environment to how it feels to be there, a hot sun, spirits in the canyons, the languages and religious iconography are included in the melodies and musical forms.
Previous recordings by Naccarato include Jarrell’s Cove, North Sycamore, Stone Cottage, One Piano (a collaboration with Gettel), History, and Souvenir d’Italia, all available through her official website and Amazon.com.
Naccarato is preparing to announce upcoming live performances for this Fall 2022; watch her website and social media for the cities, dates and ticket links.
Music fans can link to buy or stream A Southwest Story from their favorite platform here: https://elizabethnaccarato.hearnow.com/a-southwest-story
Tracklist:
1 San Luis (4:42)
2 Wild Horses (2:58)
3 Sacred Land (5:08)
4 Mi Hito, No! (4:12)
5 Fandango (1:48)
6 Brown Eyes (4:12)
7 Spanish Dance No. 2 by Granados (5:25)
8 La Sierra (4:38)
9 Shrine of the Stations of the Cross (3:33)
10 The Vega (4:31)
11 Dusk (4:08)
12 Cowboy's Waltz (3:30)
13 Flower Moon (3:36)
Links:
WEBSITE: http://elizabethnaccarato.com/
SPOTIFY: https://open.spotify.com/artist/0REXjQLt79Pi2YZO31goUl?autoplay=true
YOUTUBE: https://www.youtube.com/c/Naccaratonetwork/videos
AMAZON: https://www.amazon.com/Elizabeth-Naccarato/e/B000APAEXS
FACEBOOK: https://www.facebook.com/elizabethnaccaratopianist
INSTAGRAM: https://www.instagram.com/elizabethgettel/
APPLE: https://music.apple.com/us/album/a-southwest-story/1632306586
It’s no wonder that Chris has taken up music. While he never made music his sole focus, he did sing and play music in college. However, his backpacking trip through Europe and living in Tokyo is what made him realize his talent and he started to take his music more seriously. After living there for 5 years, he’s ready to make roots in New York City and is ready to release new music, the first time since 2018.
His new single, “Winter, Wait,” is a dreamy electro-pop song that emulates a simultaneous feeling of heaviness and lightness. It has a presence that's hard to explain in words, but ultimately it's about the highs and lows of life. The music really explores that theme with sections that feel more upbeat than others. It’s part of a series of singles, the third and final that showcases his expanding skill set beyond folk and folktronica with textured synths, layered ambience, vocal effects, and harmonies.
"'Winter, Wait' is about managing the passage of time through both the high points and low points of my life," shares Chris. "The exhilarating, joyous, and love-filled moments of my life feel so fleeting and seem to pass in an instant, while the somber, dark, low points feel like they linger and last forever. This song is about doing my best to stay present and appreciate those peaks when they come, as well as waiting out the storm through hard times and knowing that ultimately, those will pass too."
Listen here:
https://soundcloud.com/chrisbaluyutmusic/winter-wait/s-XTrbJMGzDAc?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
We have just released our first new music in over 3 years. TapRoots has been busy over the pandemic writing a new album, and the first track, Song for the Ocean, has finally been released. Check it out and let us know what you think!
It is a song dedicated to the yoruba orisha of the Sea, Yemaya. Come join in celebrating this new Summer track from TapRoots!
NEW YORK (July 10, 2022) — Gedalya, the New York based musician known for his infectious melodies and positive, lyrics is pleased to announce the release of his latest single Needle and Thread.
The song explores the connection between all people and how understanding can bring unity to those that otherwise would face conflict.
“Underneath our different exteriors, we are all connected spiritually,” Gedalya said. “Needle and Thread challenges my listeners to see past what is driving them individually and recognize the similarities that bring us together.”
“Our souls are sewn together with the same needle and thread,” he sings in the chorus in a recognition that the pain and difficulties everyone faces should bring us together instead of tearing people apart.
And he hopes the song can help people achieve that desire.
“Too often, we pursue our needs while viewing the world only through the lens of our personal experiences,” Gedalya said. “But what goes unrecognized is that underneath it all, we are all cut from the same spiritual cloth, and if we accept in our hearts no matter our differences, deep down we share far more than we don’t, we will live more fulfilling and rewarding lives. This song is a recognition and a celebration of what we share.”
The song also fits into the mission of A New Song USA, a not-for-profit organization that promotes music with a positive message. The organization was founded by Gedalya, who serves as director alongside his musical performances and recording.
“With A New Song USA, I want to encourage artists and fans to find the most rewarding parts of their lives and share them with others,” Gedalya said. “The music we promote is a way to do precisely that.”
For more about Gedalya, visit gedalyasings.com.
In case you have time to join an online music forum which hosts little song contests, where members suggest songs, listen to all songs and vote for top ten, please let me know (by posting here or in private message - if that function exists lol).
Of course, if you're author/performer of the song, you can promote yourself, but at the end of the day, you have to vote for your top ten songs of that month :D
It's called World Forum Song Contest (WFSC) and only countries which are not in Eurovision can take part.
Songs from the following countries are already taken for the WFSC July edition: Brazil, Colombia, Iran, Japan, Libya, Mali, Mexico, Myanmar, New Zealand, Palestine, Rwanda, Thailand, US Virgin islands & Venezuela. Meaning, if you wanna join WFSC July, you can play with another song from another country.
I'll start the contest on weekend, so if you have time, will & wanna listen to some good music, let me know soon. The music is mostly world music, so I'll give you a recap of some older editions for you to listen to:
https://youtu.be/P0rcSQ_eLrw?t=60
https://youtu.be/a74FUWJIgb4?t=44
https://youtu.be/vBbiQYfxH7Y?t=124
That'd be all from me, thanks and take care!!
Vera
Dear Daria released their debut album 'Can I Be Frank?,' which has hits like “John Hughes,” an ode to the director, “Best Life,” about living your best life in the now, and “Delaware,” a song inspired by their love for the film Wayne’s World. Their music holds the energy of The Pixies and guitar tones and drums of Paramore with The Beatles-eque melodic bass lines. Dear Daria’s sound is a nostalgic hit of the 90’s.
“'Can I Be Frank?' is essentially a two-part record. Half the record was written in the midst of a musically inspired summer," Maryjo remarked. “... which is reflected in the celebratory, living-in-the-moment vibes of tracks ‘Best Life,’ and ‘Delaware.’” The other half of the album was written at the beginning of the pandemic. Parts were “swapped back and forth digitally.” There were many difficulties recording remotely, causing setbacks and delays. However many setbacks prolonged the release of Can I Be Frank? Maryjo, Joshua, Eamonn, and Dan had a “collective desire to share these songs with the world.”
Dear Daria’s 'Can I Be Frank?' is the pop punk soundtrack to Summer ‘22. It takes the story telling aspect of Paramore’s lyrics, and puts them to The Donnas-esque rhythms and melodies. Maryjo’s vocals are reminiscent of Dolores O’Riordan’s of The Cranberries. All nine tracks have the energy of all three bands, and possess the vibe of Rilo Kiley. Can I Be Frank? is the perfect balance of authenticity and humor.
Listen here: https://open.spotify.com/album/2l1ZmWCjVWebVoxHhwZylo?si=OYdtijfUQYauDHjMPL_MKw
"Miz Sally" is the second single from Ali Hugo's new album "Home Boy." The song is a sort of ode to the musical sensibilities of John Lennon and Paul McCartney. "Miz Sally" might have easily been a smash on one of the Beatles' albums, and yet there is still a market for that style of Rock and Roll music in 2022.
In a survey titled "Rock Never Dies," respondents were questioned if "The Beatles are a perfect illustration of the adage "Rock Never Dies." and 62.9 percent of those polled agreed with the assertion. Given how the music industry has progressed, Ali Hugo believes it is genuinely incredible that the Beatles remain as relevant to today's Music buyers as they were back then.
Although "Miz Sally" has a 1960s vibe, it is entirely an original song written, arranged, and produced by Hugo. "There is a narrow line between recognizing the musicians that inspired the song and generating fresh stuff." I'd like to write a popular song, but I have no plans to join a Beatles tribute band anytime soon. Hugo exclaimed, laughing.
"I can't deny that I come from a long family of Beatles enthusiasts, and we even wanted to take advantage of the opportunity to master the song at Abbey Road studios, but my team was concerned that doing so would be crossing that fine line," Hugo explained.
"We have huge plans for Miz Sally, and we're hopeful that the song will do well, especially in the UK." Hugo stated that "Miz Sally" will be released on July 12th, 2022.
The album's tracks were composed and produced during SES Team's stays in Florida and Los Angeles (USA).
muratses.com
His new album, 'Desperado's Shade,' is a 10 song collection of original flamenco songs that transport you to another place. You feel like you are on the edge of a cliff in "Cliff's Edge" or about to cross a river in "Spanish River." He creates adventure in his music. You feel like you're on a quest or a long journey, yet he also creates a sense of calm. He is able to let the music tell a story that words would never be able to do. His finesse with the guitar is the lyrics that guide you through the stories.
Gary started as a self-taught guitarist at the age of 14, playing rock, shred, and classical. In 2002, upon hearing a friend play a rhumba, he put the electric guitar down. “Immediately when I heard him play, I knew what I wanted to do with the rest of my life,” Gary says. He continues: “I won’t lie, I was a pretty good electric guitarist, but flamenco is a completely different technique. I had to start over, and it took many years.”
Give 'Desperado's Shade' a listen: https://open.spotify.com/album/0yP835kXujCo08wqvYzyFs?si=3In6zYZaQv68VV0DuBfTQw
Imagine the serenity of walking through mountaintop cloudbanks, and one gets a sense of Cloudwalker and the Ascent, the new release from Zero Ohms, releasing today on Spotted Peccary Music. Richard Roberts, the electronic ambient music composer behind Zero Ohms, takes inspiration from the western North Carolina mountains where he lives to create electronic textures and meditative flute melodies.
Music possesses the capacity for awakening a deeper part of the self within. As writer, painter, musician, teacher and producer, Richard Roberts follows what he has termed Tao of Zero Ohms (literally: way of no resistance). Zero Ohms aptly describes Richard’s palette of sounds, with flutes and woodwinds from around the planet interwoven with electronics, at once as ancient as it is contemporary. Playing wind-controlled synthesizers and over fifty various flutes, saxes, and other woodwinds, he embraces styles from around the globe and beyond. Zero Ohms is also a live performance artist: most recently, he performed at the Mountain Skies Electronic Music festival in North Carolina.
The way is clear – to listen while letting go – this is The Tao of Zero Ohms.
Cloudwalker and the Ascent is a climb to higher consciousness from a master of the genre. Each morning, he set out to hike the highest peak. Up there, the clouds hung so close to the earth he walked through them. One of Roberts’ friends nicknamed him “Cloudwalker,” and the album’s concept was born. With Cloudwalker and the Ascent, he has recreated this solitary space for the listener in seven pieces featuring shorter compositions and sparser arrangements than on his previous albums. While retaining the improvisations of prior Zero Ohms albums, Roberts uses minimal drones, overdubs, and fewer flutes. Roberts played only a 1954 HaynesSchwelm, a 1995 Armstrong bass flute, an Elemental Flutes Native American bass flute, and a vintage Roland JV-1010 wind-controlled synthesizer.
According to lost distant legends, the mountain is home to countless holy spirits and possesses an array of holy properties. Music can be an invitation to explore such a world while being good to it, discovering truly stunning treasures which might appear to sound as if they were suspended in the air. Listen to the most mind blowing colors, exploring the remains of opulent elevated palaces, temples, fortifications, markets and much more. Invest precious time soaking in the breathtaking acoustic views, structures appear to be cascading down the side of the steep, rocky cliffs. “I have tried to establish a sense of infinity and freedom, and the sense of timelessness that seems to come with it,” reflects the composer.
Flutes are possibly the earliest known identifiable musical instruments, often found in the deepest and darkest parts of some ancient caves, where the acoustics work the most potent magic. I do not think these once lost instruments will be found to have lost so very much of their original sonic fragrance and flavor. This ancient musical implement is sometimes called an aerophone, it is a reedless wind instrument that produces its sound from the flow of air across an opening. What I hear are multiple harmonics that sound as if we are in huge caverns, the sound is very big but not in a loud way, rather, the sound appears to be suspended in the air in a clever and delicate sustained calming way, this is deep listening you can follow into unknown territories. Zero Ohms adds his flutes and woodwinds to his electronic soundscapes and gets a very unique and serene, mellow and meditative sound, evoking gravity-defying remote places and fabulous scenery.
The music of Zero Ohms includes wind-synth tones skillfully blended to form his unique musical palette, coaxing ecstatic wanderings at once as ancient as they are contemporary, with flutes and woodwinds from around the planet interwoven with electronics and well placed savory-pungent acoustic spices. Zero Ohms (Richard Roberts) is a writer, painter, musician, teacher and producer, who follows what he has termed Tao of Zero Ohms (literally: way of no resistance).
Most of this new album, Cloudwalker and the Ascent, was recorded while living in a small community prosaically called Little Switzerland, due to its resemblance to an Alpine village. "I often walked to nearby overlooks that are breathtaking when clear but frequently were quite literally ‘in the clouds’ hence, I became Cloudwalker," reflects Roberts. The beauty of this place combined with the uncertainties of the pandemic produced a collection of seven concise improvisations which have the feel of naked solo performances. Taking advantage of interrupted sleep patterns, many of the tracks on Cloudwalker were laid down in the hour just before dawn, their inspiration distilled from dreams, often with the Moon & Venus smiling through the open backdoor of his cabin.
The first track sets the mood for this nebulous journey. "Cloudwalker and the Ascent" (5:57) the title track opens with the sound of a flute in a big chamber, drones and breath play with symmetry as well as dissonance, like a dream-shape. The fundamental force in the universe stimulating everything from atoms to animals to evolve and incorporate ever greater levels of quality, which can be heard in the cathedral-like depth and echo that haunts this flute, the notes, how distant and how dangerously they sway, the sound flies right up to the very clouds.
The composer reveals that he was inspired by Admiral Richard Byrd’s description of green, forested lands free of ice & snow which the Admiral observed ‘beyond the (north) pole,’ he called this magical and remote place “that enchanted continent in the sky” and the track "Unknownland" (2:45) is a science fiction blending of worlds, a pulsing atmosphere populated with mystical and acoustically astounding electronic flute-birds. This is my favorite track on the album.
Electronic dancing binary jewels near huge ultramarine crashing waves, rose-bedizened ringing bells pulse, "Vistas Beyond" (7:31) expands and encloses the listener inside a breath of warm melodic pulses. The next track's title comes from a Taoist tradition of seeking high, craggy, seemingly inaccessible places for meditation, "Tum Gaon (ascending to higher places)" (10:20). What I hear is a simple drone flute with just enough electronic enhancement, forming long sustained tones. The view of heaven flows mainly from observation and meditation, a single tone to soar and shimmer in the air, breath and open echoey space goes deep, this is the longest meditation on the album.
Maybe this echoey chamber, be it cave or cathedral, is bigger than we expect, the long sustained notes rise into the air on wings. This would be the abode of the Wind. A low drone immediately begins the ascent, very gradual and delicate. "Skybound (free from terrestrial bonds)" (9:20) allows us to imagine the biggest place to find an echo, immersed in the warm, contemplative groove. Seemingly conjured, when all at once afar off a little shining light. The sound sends us straight towards it, flute glowing blue, and there in the midst of the brightness to be seen, and headed for the sky.
Earthy spirits might dream of disappearing into sounds in the heavens, almost blinded by their splendor. "Deep Sky Tones" (5:22) features more of the science fiction electronics, yet also there is an ancient flute vibe, sort of a slow duet between the electronics and the ancient, one side does something slightly different than the other side, but they are both long sustained tones that flicker slightly sometimes, with a layered texture, a reverb feel, bringing to mind mythical entities, moods, and deeper musical meditations.
"Across the Seven Skies" (6:10) the earth trembles beneath and the sky is shaken as if the seven worlds and the seven heavens were mingled together, with almost a folktale feeling. A story told, a track that stands alone, climbing yet higher, spreading thinner & thinner, beyond the atmosphere, into nothingness, like the tempest coming, a massive ghost-cloud. Now our echo chamber goes from a cave to the sky, not just one sky but seven skies. Flutes use the air from our bodies to reach the cosmic force, creating a dreamy genre all its own. I hear several drone instruments blending and sounding in a way that might be similar to the power of the Northern Lights, eclectic blending in a free form and spontaneous air. “Just as the light of a full moon allows us to navigate a path through the darkness, Music allows us to find our way in the dark nights of the Soul.”
Zero Ohms began his musical path around the age of 11 when he began taking clarinet lessons. Four years later, he learned the guitar and got into singing and playing pop and antiwar folk songs. He lists Phil Ochs, Donovan, Richie Havens, the Beatles, the Moody Blues, Leonard Cohen, and Jethro Tull, but seeing and hearing a concert in which Paul Horn accompanied Donovan on the flute changed everything.
A flute produces sound when a stream of air directed across a hole in the instrument creates a vibration of air at the hole, and is sometimes called an edge-blown aerophone projecting marvelous melodies and deep improvs that are matchless, seamless, and timeless, ecstatic spiritual journeys reaching ever upwards.
This album provides a wide and ascending path, a staircase through the forest to the highest terrestrial places to find vistas over lush verdant fields and framed by distant mountain ridges. You might feel like you could wander freely across the top of the absolutely fascinating reliefs and discover hidden gems. Then you realize that this is all made of clouds. Seen from a distance, it looks like a golden sci-fi fantasy, remarkable for a vivid imaginativeness, a gorgeous play of fancy air. Swiftly flies the time, lost in a glimpse into the rich history & culture of an age of awe-inspiring structures intended to honor the first gods.
TRACKS
1 Cloudwalker and the Ascent
2 Unknownland
3 Vistas Beyond
4 Tum Gaon (ascending to higher places)
5 Skybound (free from terrestrial bonds)
6 Deep Sky Tones
7 Across the Seven Skies
LINKS
Multi-platform https://orcd.co/zo-cloudwalker
Spotted Peccary https://spottedpeccary.com/
Shop https://spottedpeccary.com/shop/cloudwalker-and-the-ascent/
Artist page https://spottedpeccary.com/artists/zero-ohms/
Channel https://www.youtube.com/channel/UCK5Dj1P5S492hrO1cpBw_ew
Bandcamp https://zero-ohms.bandcamp.com/
Music possesses the capacity for awakening a deeper part of the self within. As writer, painter, musician, teacher and producer, Richard Roberts follows what he has termed Tao of Zero Ohms (literally: way of no resistance). Zero Ohms aptly describes Richard’s palette of sounds, with flutes and woodwinds from around the planet interwoven with electronics, at once as ancient as it is contemporary. Playing wind-controlled synthesizers and over fifty various flutes, saxes, and other woodwinds, he embraces styles from around the globe and beyond. Zero Ohms is also a live performance artist: most recently, he performed at the Mountain Skies Electronic Music festival in North Carolina.
The way is clear – to listen while letting go – this is The Tao of Zero Ohms.
Cloudwalker and the Ascent is a climb to higher consciousness from a master of the genre. Each morning, he set out to hike the highest peak. Up there, the clouds hung so close to the earth he walked through them. One of Roberts’ friends nicknamed him “Cloudwalker,” and the album’s concept was born. With Cloudwalker and the Ascent, he has recreated this solitary space for the listener in seven pieces featuring shorter compositions and sparser arrangements than on his previous albums. While retaining the improvisations of prior Zero Ohms albums, Roberts uses minimal drones, overdubs, and fewer flutes. Roberts played only a 1954 HaynesSchwelm, a 1995 Armstrong bass flute, an Elemental Flutes Native American bass flute, and a vintage Roland JV-1010 wind-controlled synthesizer.
According to lost distant legends, the mountain is home to countless holy spirits and possesses an array of holy properties. Music can be an invitation to explore such a world while being good to it, discovering truly stunning treasures which might appear to sound as if they were suspended in the air. Listen to the most mind blowing colors, exploring the remains of opulent elevated palaces, temples, fortifications, markets and much more. Invest precious time soaking in the breathtaking acoustic views, structures appear to be cascading down the side of the steep, rocky cliffs. “I have tried to establish a sense of infinity and freedom, and the sense of timelessness that seems to come with it,” reflects the composer.
Flutes are possibly the earliest known identifiable musical instruments, often found in the deepest and darkest parts of some ancient caves, where the acoustics work the most potent magic. I do not think these once lost instruments will be found to have lost so very much of their original sonic fragrance and flavor. This ancient musical implement is sometimes called an aerophone, it is a reedless wind instrument that produces its sound from the flow of air across an opening. What I hear are multiple harmonics that sound as if we are in huge caverns, the sound is very big but not in a loud way, rather, the sound appears to be suspended in the air in a clever and delicate sustained calming way, this is deep listening you can follow into unknown territories. Zero Ohms adds his flutes and woodwinds to his electronic soundscapes and gets a very unique and serene, mellow and meditative sound, evoking gravity-defying remote places and fabulous scenery.
The music of Zero Ohms includes wind-synth tones skillfully blended to form his unique musical palette, coaxing ecstatic wanderings at once as ancient as they are contemporary, with flutes and woodwinds from around the planet interwoven with electronics and well placed savory-pungent acoustic spices. Zero Ohms (Richard Roberts) is a writer, painter, musician, teacher and producer, who follows what he has termed Tao of Zero Ohms (literally: way of no resistance).
Most of this new album, Cloudwalker and the Ascent, was recorded while living in a small community prosaically called Little Switzerland, due to its resemblance to an Alpine village. "I often walked to nearby overlooks that are breathtaking when clear but frequently were quite literally ‘in the clouds’ hence, I became Cloudwalker," reflects Roberts. The beauty of this place combined with the uncertainties of the pandemic produced a collection of seven concise improvisations which have the feel of naked solo performances. Taking advantage of interrupted sleep patterns, many of the tracks on Cloudwalker were laid down in the hour just before dawn, their inspiration distilled from dreams, often with the Moon & Venus smiling through the open backdoor of his cabin.
The first track sets the mood for this nebulous journey. "Cloudwalker and the Ascent" (5:57) the title track opens with the sound of a flute in a big chamber, drones and breath play with symmetry as well as dissonance, like a dream-shape. The fundamental force in the universe stimulating everything from atoms to animals to evolve and incorporate ever greater levels of quality, which can be heard in the cathedral-like depth and echo that haunts this flute, the notes, how distant and how dangerously they sway, the sound flies right up to the very clouds.
The composer reveals that he was inspired by Admiral Richard Byrd’s description of green, forested lands free of ice & snow which the Admiral observed ‘beyond the (north) pole,’ he called this magical and remote place “that enchanted continent in the sky” and the track "Unknownland" (2:45) is a science fiction blending of worlds, a pulsing atmosphere populated with mystical and acoustically astounding electronic flute-birds. This is my favorite track on the album.
Electronic dancing binary jewels near huge ultramarine crashing waves, rose-bedizened ringing bells pulse, "Vistas Beyond" (7:31) expands and encloses the listener inside a breath of warm melodic pulses. The next track's title comes from a Taoist tradition of seeking high, craggy, seemingly inaccessible places for meditation, "Tum Gaon (ascending to higher places)" (10:20). What I hear is a simple drone flute with just enough electronic enhancement, forming long sustained tones. The view of heaven flows mainly from observation and meditation, a single tone to soar and shimmer in the air, breath and open echoey space goes deep, this is the longest meditation on the album.
Maybe this echoey chamber, be it cave or cathedral, is bigger than we expect, the long sustained notes rise into the air on wings. This would be the abode of the Wind. A low drone immediately begins the ascent, very gradual and delicate. "Skybound (free from terrestrial bonds)" (9:20) allows us to imagine the biggest place to find an echo, immersed in the warm, contemplative groove. Seemingly conjured, when all at once afar off a little shining light. The sound sends us straight towards it, flute glowing blue, and there in the midst of the brightness to be seen, and headed for the sky.
Earthy spirits might dream of disappearing into sounds in the heavens, almost blinded by their splendor. "Deep Sky Tones" (5:22) features more of the science fiction electronics, yet also there is an ancient flute vibe, sort of a slow duet between the electronics and the ancient, one side does something slightly different than the other side, but they are both long sustained tones that flicker slightly sometimes, with a layered texture, a reverb feel, bringing to mind mythical entities, moods, and deeper musical meditations.
"Across the Seven Skies" (6:10) the earth trembles beneath and the sky is shaken as if the seven worlds and the seven heavens were mingled together, with almost a folktale feeling. A story told, a track that stands alone, climbing yet higher, spreading thinner & thinner, beyond the atmosphere, into nothingness, like the tempest coming, a massive ghost-cloud. Now our echo chamber goes from a cave to the sky, not just one sky but seven skies. Flutes use the air from our bodies to reach the cosmic force, creating a dreamy genre all its own. I hear several drone instruments blending and sounding in a way that might be similar to the power of the Northern Lights, eclectic blending in a free form and spontaneous air. “Just as the light of a full moon allows us to navigate a path through the darkness, Music allows us to find our way in the dark nights of the Soul.”
Zero Ohms began his musical path around the age of 11 when he began taking clarinet lessons. Four years later, he learned the guitar and got into singing and playing pop and antiwar folk songs. He lists Phil Ochs, Donovan, Richie Havens, the Beatles, the Moody Blues, Leonard Cohen, and Jethro Tull, but seeing and hearing a concert in which Paul Horn accompanied Donovan on the flute changed everything.
A flute produces sound when a stream of air directed across a hole in the instrument creates a vibration of air at the hole, and is sometimes called an edge-blown aerophone projecting marvelous melodies and deep improvs that are matchless, seamless, and timeless, ecstatic spiritual journeys reaching ever upwards.
This album provides a wide and ascending path, a staircase through the forest to the highest terrestrial places to find vistas over lush verdant fields and framed by distant mountain ridges. You might feel like you could wander freely across the top of the absolutely fascinating reliefs and discover hidden gems. Then you realize that this is all made of clouds. Seen from a distance, it looks like a golden sci-fi fantasy, remarkable for a vivid imaginativeness, a gorgeous play of fancy air. Swiftly flies the time, lost in a glimpse into the rich history & culture of an age of awe-inspiring structures intended to honor the first gods.
TRACKS
1 Cloudwalker and the Ascent
2 Unknownland
3 Vistas Beyond
4 Tum Gaon (ascending to higher places)
5 Skybound (free from terrestrial bonds)
6 Deep Sky Tones
7 Across the Seven Skies
LINKS
Multi-platform https://orcd.co/zo-cloudwalker
Spotted Peccary https://spottedpeccary.com/
Shop https://spottedpeccary.com/shop/cloudwalker-and-the-ascent/
Artist page https://spottedpeccary.com/artists/zero-ohms/
Channel https://www.youtube.com/channel/UCK5Dj1P5S492hrO1cpBw_ew
Bandcamp https://zero-ohms.bandcamp.com/
Record Label s need to try artist such as SMK for various reason ,multi talented ,he can help in your team of scout When i found DecentDoggz Entertainment A developing Record Label in Cape town the aim was to present on opportunity to unrecognised musician to have a filling of recording their music & have chance to Manage their own work ,like publishing,Distributing ect ,funding was the issue but Western Cape people can tell the major role played by this label ,some will say D Doggz Records that Give Birth to Pride Records .This and few other things can show you who SMK is ,He manage to Mrket the label & the artist under this label
She finds meaning in space, time, and thought, giving her music another area of musical depth and endurance. She just released her debut EDM and cinematic self-titled album, 'Star Goes Nova." Consisting of 8 original songs, 'Star Goes Nova' has 6 of her previously released singles that are remixed to create a cohesive album alongside 2 new singles, "Phat Barbarella" and "Words and Stardust."
"Phat Barbarella" is the drum & bass and sci-fi inspired single that has a Pink Floyd style to it. Star Goes Nova takes Jane Fonda's 1968 classic Barbarella into a dubstep psychedelic future. Sci-fi synth melodies over dubstep vibes and grime bass release us from gravity as we dance on our starship through outer space.
"Words and Stardust" is a conceptual song that has electronic ethereal music that swirl and layer. "During the pandemic, I started thinking about how so many of us were creating online relationships for connection," she shares. "I kept thinking about how words and imaginations are often the only thing exchanged in an online relationship. Ethereal wishes. So much desire. So much yearning. Unreal. Stardust. I imagined each lover thinking 'You are all my favorite words, but you are stardust, words and stardust. I keep dreaming where we're going, that we have meaning, that we're worth believing. You’re still here and I’m still here and words are everywhere, but it is only stardust.' I wrote this song…. without words, of course, but with lots of stardust."
Listen here: https://open.spotify.com/album/7jxo9SDN298pnDCnRRPSIR?si=U-Dr12EWQwaS8JFgEGlDlQ
'Thoughts and Prayers' is Chad Sipes way of confronting a taboo topic, though an important one to tackle. Based on the theme of the opioid crisis, 'Thoughts and Prayers' takes on every aspect of the relationship we as a society have with pills; everything from parenting styles in "Every Single Kid" and "Therapy" to addiction in "Relapse" and "New Prescription."
“It felt like the time to say something,” shares Chad. “With this album, I decided to explore a narrative about the opioid crisis we face here in America. I am by no means an expert—I don’t want anyone to feel bad about taking medication—but I see something dangerous and very widespread.”
Thoughts and Prayers is a career milestone album on many levels. Besides representing an ambitious artistic feat, the album showcases a band at the height of its powers 12 years in, and it’s a testament to the quartet’s longevity. Chad says: “I’m really proud of this record. We left no stone unturned, and made the album I've always wanted to make. I have never felt this way before, and I am so excited for people to hear it.”
Listen here: https://open.spotify.com/album/4o1P21vZepgmR8YDh1wxKZ?si=l5KtxnWHSw6_BNkUIuauEA
Zamisto is an artist, a solo artist, songwriter or a lyricist, singer & performer aspiring to express himself (my feelings/Imizwa yam) through music vibes essentially healing, delighting & endowing people with fresh sounds. Oh yes, I’m (knocking/ndiyaNqonqoza) and always calling upon Friday (Hoza/come Friday) as my favorable day of the week albeit I take every day as a (Brand new day).
Indeed, we have Afro-popped a number of tracks for Afro-poppers and Afro-trappers (Yabada Africa) but only individual singles for Afro-house-keepers Qula Kwedini with some Xhosa cliques & for our Reggae lovers with some Afro-pop flair respectively.
In response 2 current wreak havocking Amapiano sounds in Africa, we have 2 tracks chasing the trend 4 now, check them out. For Gospel lovers, I have a message for you children of God – I speak peace, love & respect, Nkosi sikelela abantu bakho/God bless your people . In fact, we have about 4 gospel tracks aimed to heal & restore our people’s diverse situations, persistent circumstances and vulnerable life conditions.
Trying 2 be contemporary and versatile at the same tym isn’t a walk on the park, I ended up becoming Sishumane bcz of my music ambitions, shame on me but @ least it happened during covid19 lockdowns, hay’ Ishubile bakgotsi keCorona. Anyway, let me congratulate Dillidizza for safely passing thru manhood passage during this summer school initiation campaign. Mabaye bephila babuye bephila. Was it lockdown blasphemy and or blemished year Dillidizza? Hay’ nam andazi kodwa ke your time was long overdue (Yo tym is up) dedela (amakhwenkwe) abanye.
Yabada Africa album is a 2 year project and it couldn’t have been manifested possibly, without faith in action and Masandawana always testify for (people-process-systematic) support, assistance, teamwork including hard work, belligerent hiccups, obstinate obstacles, and self or manufactured regrets but I thank God (Heavenly Father) for his mercy, grace, favor and unconditional love.
By the way, Sumeya (the hottest track) is a true personal story based song. I almost lost my other half whilst chasing my dream (Lord mend this). I dedicate this album 2 u Sibonise and our beautiful daughter, Sumeya (Intombenhle). I’m truly sorry babe and honored for ukubonisa uthando lwam oluthi nkente-nkente tiki-tiki boom-boom.
I salute you all in the wonderful name of Yahweh, Yashua, God bless Africa.
Zamisto
1) YouTube https://music.youtube.com/watch?v=CeXqEL30J4w&feature=share
2) Spotify
https://open.spotify.com/track/7qabc2VLHLMW9UeUfDOoCO?si=c6ffd969dd9645c2
3) Apple Music (Shazam) https://music.apple.com/us/album/yabada-africa/1608346767?i=1608347024
4) WYNK Music https://wynk.in/u/TGOrnJRYa
CONTACT
Phone - +27780632917
YouTube Channel
https://music.youtube.com/channel/UC8nvfSufPDA-pM5L_jV1ioQ
Email - Zamisto99@gmail.com
https://www.instagram.com/p/CV0muiztNl1/?utm_medium=copy_link
https://twitter.com/ZamistoOfficial?t=0Hai9dak39OZqMsE9hy2nQ&s=03
https://www.facebook.com/ZTafane
Tiktok
https://vm.tiktok.com/ZMLWG3Svu/
My name is Zamikhaya Tafane famously known as Zama. I reside in Midrand, Johannesburg, Gauteng province in RSA. Born on the 05th December during apartheid regime, bred in a small town Tsomo, under Chris Hani district in the Eastern Cape province at Mtshabe, eGesini village. I studied in Stellenbosch, CPUT, and Unisa Academia in the Western Cape province. I have worked in the public service for years prior relocating to Gauteng for greener pastures. Now, I sing & perform music.
I am an artist & my stage name is Zamisto.
Hang on a sec, let me thank you for reading my biography & for your support. Actually, your support is highly appreciated and THANK U & take 5 may God bless U n Me.
In anticipation for greater things 2 come, towards realizing my music ambitions – I’m looking forward 2 establish mutual beneficial relationships in business & music world. Hesitate NOT, try me now, let’s collaborate, chat & talk business. Indeed, I am an African man, tall in height, humble inside & short in messages.
SKILLS / KNOWLEDGE /EXPERIENCE /HOBBIES /INTERESTS
Strategist & Business Planner
Business & Research Analyst
Knowledge Management Activist
Information Management Activist
"Home Boy" will also include a country song and an instrumental song, both of which are staples of Ali Hugo Belief Records' formula. The decision was motivated by a desire to increase downloads, according to the Belief Records team. Hugo's country and instrumental tracks are popular on DSP. And it makes financial sense to continue releasing original songs in those genres for download.
According to Belief Records, having an artist on the label's roster like Ali Hugo, who has generated 2 million streams in 2021, adds significant value to the bottom line. We realized the value of working with an artist like Hugo on the "Home Boy" album, Hugo started writing and recording up to three songs a day for the project. Hugo began to sing, and when we asked where these songs were coming from, he replied, "All I can say is that I thank God for the gift of music.
" Belief Records' current goal is to create innovative and effective marketing techniques for "Home Boy" in order to gain access to new markets. The "Home Boy" sound, for example, has a distinct "Maple Leaf" flavour to it. As a result, working with agents who can help us get the music into small-town stores across Canada and the United States is critical. Streaming music is essential. However, the Belief Records marketing team hopes that the "Home Boy" album will be the recording with the most downloaded songs in Belief Records history. Belief Records is also planning to release the album on CD and vinyl.
Given that highly compensated artists make most of their money from live performances, the music on the "Home Boy" album is well-suited for stadium, arena, and Amphitheatre concertgoers who purchase advance tickets, and the same Home Boy songs can be customized for virtual concerts and paid online performances. The "Home Boy" album arrives at a critical juncture where rock music is trending globally, as the hottest ticket for the summer is for the sold-out Stadium Tour featuring rock legends Def Leppard, Motley CrÜe, Poison, and Joan Jett. "I've seen many groups bring back DISCO and traditional R&B arrangements to a new generation of listeners, and I believe that same success formula can work with rock music," Hugo explained.
According to a Belief Records team member, "Home Boy" songs can reach a wider audience with the help of many of our friends at radio and generate more sync and licensing opportunities with Belief Records." "We are going all the way with this record, and we are determined to use all the tools at our disposal to create a hit record," says Hugo of the "Home Boy" album.
Along with the release of a new album, Belief Records and Intercept Music/Ingroove/UMG have formed a new partnership. The collaboration will assist Belief Records in expanding the Ali Hugo brand while increasing album profitability prospects through innovative marketing, catalogue management, distribution, and merchandising methods. The first single from the Home Boy album There's a light out there" will be released on June 16th, 2022.
John’s music is a fusion variety that combines elements of pop lyricism and modern classic melodies along with electronic bass rhythms. He is inspired by other artists who also integrate fun music. If the Arctic Monkeys and Simon and Garfunkel decided to collaborate into a current musical phenomenon it would be John Greska.
His new folktronica like song, "Mamma Maybe" takes themes of time and change and places it within the made up narrative of a mother and her son. It's a fresh sound that bears no real comparisons, though it's reminiscent of Mumford & Sons with a sort of structure and lyricism like The Beatles. Inspired by history and intrigued by how the people who lived through certain events thought of change, "Mamma Maybe" is about a mother who's beliefs and ideals keep her in the past and unable to connect with her son.
“The writing process was surprisingly difficult. Taking out the fact that I was trying to write about something extremely intricate and not really song-like, the actual music was super tricky. There were certain parts that had to sound happy and certain parts that had to sound ominous and the ending was rewritten three times. The ending of the song was the hardest part to find, because how do you end a story like this?”
But all that hard work seemed to pay off with “Mamma Maybe” bringing unique tones and artistic influence to a new direction of music.
Listen here: https://open.spotify.com/track/0WrTxr1PxI8VODW1VMPgf3?si=9c3948cc8d6b4898
Earthnocloud spoke to SMK he said after writting a classword and you failed it You will have to do a corrections meaning that the teacher now must tell you whe did you go wrong ..So SMK is actually fixing that with Do Or Die P2 : A 20 songs Album .The South African Rapper,self trained music Pproducer is now done with his recent Project Bluprint on this one SMK said this is a classic Album an album that contains only Hits ,he is done with it & will soon be busy with an EP tittle #No Retreate No Surenda
'For You, The Garden' may be aimed at children, but even adults can find themselves singing and dancing along to his groove filled songs. The album has 19 songs and covers every topic under the sun. He sings about the Big Bang, compassion, empathy, climate change, and even our collective relationship to the land. Each song has catchy rhythm and a fun styling and vocals like Leonard Cohen.
'For You, The Garden' was inspired by the community garden that Wurmy helped make in Silverlake back in 2008. He joined his neighbors and community to create the garden in an overturned parking lot. It took a year to complete, but when it was, Wurmy could see the joy it brought to people. Timeless ideals of returning land to nature, community gathering around common, shared spaces, and the awe of watching nature bloom and cycle made a mystical impact on him. He was in many ways re-born & had no other choice but to sing about it.
For You, The Garden features original, storyteller songs, delicately adjusted popular covers, and well-loved traditional tunes. Wurmy quippily calls his music “veggie-alt, consciousness-pop” and it brims with humor, buttery male vocals and orchestral accompaniment. A conceptual touchstone for this project is Harry Nilsson’s immersive album and animated film experience, The Point!
Listen here: https://open.spotify.com/playlist/4CVnTr3RrHgutypsdUbt24
A sense of wonder permeates this album through its acknowledgment of oneself as a part of something greater. John Gregorius finds deep inspiration in the natural surroundings of his home in the Sonoran desert, crafting musical spaces in the spirit of mystery, simplicity, communion, and contemplative thought.
In Awe finds Gregorius taking his trademark ambient guitar sound in new compositional directions, using more verse, chorus and bridge structures to evoke a journey through the desert or along the shoreline. On the track “Light,” Gregorius’ guitar glimmers like the silver crests of sun-kissed waves. On “Here Now,” a yearning hook recurs like a question left unanswered. Wistful acoustic flourishes entwine and disentwine from the melody at the song’s stunning bridge. And beneath, drums – like footsteps in sand – march toward realization. “Open,” finds a subsumed kick drum emboldening movement, adventure, and exploration. Then – as quickly as it comes – the kick drum subsides. It leaves an aural clearing, like stepping through overgrown branches to find a sunlit meadow: a place to stand still and marvel.
All of the songs heard on his newest album on Spotted Peccary Music, In Awe, were written, produced and mixed by Gregorius himself, who plays guitars, keyboards, percussion and developed the drum programming. Sean O’Bryan Smith plays bass on all songs, Mitch Ross plays drums on three songs, Benjamin Fleury-Steiner created the synth bed for Everyday Miracle, and Kim Daniels contributes her wondrous ethereal vocals to three tracks.
Perhaps this music is a gentle reminder to pay attention, and that there is more to life than what can be empirically measured or scientifically observed. There is time to discover these beautiful characteristics emerging from within and slowly transfiguring us. It's hard to slow down and notice things in a busy world. Try to take the time to experience your environment with all of your senses - touch, sight, smell, taste and hearing. Be kind to your wandering mind.
The sonic worlds that Gregorius has created in his imagination are enchanted, not by magic or fantasy, but by an even more startling truth that ultimately cannot easily be put into words - the universe is a love note from God. The title track on the album, "In Awe" (5:28), is a melodic instrumental with ethereal vocals featuring Daniels and the tempo of Ross, who reinterpret the word-free tradition in meaningful and sometimes surprising ways, allowing the listener a space for meditation, contemplation, silence, solitude, stillness, and practicing the idea of universal cycles, such as day and night, to repeatedly restore light and life to a glimmering world.
Gregorius begins all his compositions with a guitar, a looper, and reverb. Each of these rich, immersive pieces was built from this simple foundation, with guitar loops forming much of the album’s background ambience. He recorded most of the album on an Ovation 1867, and a Paul Reed Smith electric tuned in Robert Fripp’s New Standard Tuning. The album features collaborations with vocalist Kim Daniels, bassist Sean O’Bryan Smith, and drummer Mitch Ross, as well as a synth bed from Benjamin Fleury-Steiner on “Everyday Miracle.”
In Awe springs from the idea that everything is miraculous. The result is a joyous blend of acoustic and electric, digital and analog, and – in Gregorius’ words: a “thank you for the beauty around us, and for the deeper purpose we can experience.”
"Spirituality has always been central to my purpose and music. In growing spiritually, I’m finding science and spirituality to be symbiotic and more miraculous with every discovery..." Gregorius continues, "I have no need to defend a specific doctrine anymore, but just celebrate that the same Divine Presence has always been here and available to all."
IN AWE is available in your choice of digital download format, either MP3 (320KBPS), 16-bit DC quality, or 24-bit studio master.
ABOUT JOHN GREGORIUS: Working from his home studio near Tucson, Arizona, guitarist and composer John Gregorius creates his own wonderful blend of guitar based ambient, acoustic, and melodic music that grows naturally out of a search for meaning within life’s mysteries. A master of finger style acoustic and processed electric guitar, Gregorius finds deep inspiration in the natural surroundings of his home in the Sonoran desert, crafting musical spaces in the spirit of mystery, simplicity, communion, and contemplative thought that allow the listener to slow down, feel comfortable, relax and truly appreciate the beauty of life’s often overlooked interludes. In Awe is John Gregorius’ fourth solo release on the Spotted Peccary label. His previous offerings on the label include Full of Life (SPM-1803), Still Voice (SPM-1802), Heaven & Earth (SPM-1801). https://johngregorius.bandcamp.com/album/in-awe
Multiplatform Link: https://orcd.co/in-awe
In Awe finds Gregorius taking his trademark ambient guitar sound in new compositional directions, using more verse, chorus and bridge structures to evoke a journey through the desert or along the shoreline. On the track “Light,” Gregorius’ guitar glimmers like the silver crests of sun-kissed waves. On “Here Now,” a yearning hook recurs like a question left unanswered. Wistful acoustic flourishes entwine and disentwine from the melody at the song’s stunning bridge. And beneath, drums – like footsteps in sand – march toward realization. “Open,” finds a subsumed kick drum emboldening movement, adventure, and exploration. Then – as quickly as it comes – the kick drum subsides. It leaves an aural clearing, like stepping through overgrown branches to find a sunlit meadow: a place to stand still and marvel.
All of the songs heard on his newest album on Spotted Peccary Music, In Awe, were written, produced and mixed by Gregorius himself, who plays guitars, keyboards, percussion and developed the drum programming. Sean O’Bryan Smith plays bass on all songs, Mitch Ross plays drums on three songs, Benjamin Fleury-Steiner created the synth bed for Everyday Miracle, and Kim Daniels contributes her wondrous ethereal vocals to three tracks.
Perhaps this music is a gentle reminder to pay attention, and that there is more to life than what can be empirically measured or scientifically observed. There is time to discover these beautiful characteristics emerging from within and slowly transfiguring us. It's hard to slow down and notice things in a busy world. Try to take the time to experience your environment with all of your senses - touch, sight, smell, taste and hearing. Be kind to your wandering mind.
The sonic worlds that Gregorius has created in his imagination are enchanted, not by magic or fantasy, but by an even more startling truth that ultimately cannot easily be put into words - the universe is a love note from God. The title track on the album, "In Awe" (5:28), is a melodic instrumental with ethereal vocals featuring Daniels and the tempo of Ross, who reinterpret the word-free tradition in meaningful and sometimes surprising ways, allowing the listener a space for meditation, contemplation, silence, solitude, stillness, and practicing the idea of universal cycles, such as day and night, to repeatedly restore light and life to a glimmering world.
Gregorius begins all his compositions with a guitar, a looper, and reverb. Each of these rich, immersive pieces was built from this simple foundation, with guitar loops forming much of the album’s background ambience. He recorded most of the album on an Ovation 1867, and a Paul Reed Smith electric tuned in Robert Fripp’s New Standard Tuning. The album features collaborations with vocalist Kim Daniels, bassist Sean O’Bryan Smith, and drummer Mitch Ross, as well as a synth bed from Benjamin Fleury-Steiner on “Everyday Miracle.”
In Awe springs from the idea that everything is miraculous. The result is a joyous blend of acoustic and electric, digital and analog, and – in Gregorius’ words: a “thank you for the beauty around us, and for the deeper purpose we can experience.”
"Spirituality has always been central to my purpose and music. In growing spiritually, I’m finding science and spirituality to be symbiotic and more miraculous with every discovery..." Gregorius continues, "I have no need to defend a specific doctrine anymore, but just celebrate that the same Divine Presence has always been here and available to all."
IN AWE is available in your choice of digital download format, either MP3 (320KBPS), 16-bit DC quality, or 24-bit studio master.
ABOUT JOHN GREGORIUS: Working from his home studio near Tucson, Arizona, guitarist and composer John Gregorius creates his own wonderful blend of guitar based ambient, acoustic, and melodic music that grows naturally out of a search for meaning within life’s mysteries. A master of finger style acoustic and processed electric guitar, Gregorius finds deep inspiration in the natural surroundings of his home in the Sonoran desert, crafting musical spaces in the spirit of mystery, simplicity, communion, and contemplative thought that allow the listener to slow down, feel comfortable, relax and truly appreciate the beauty of life’s often overlooked interludes. In Awe is John Gregorius’ fourth solo release on the Spotted Peccary label. His previous offerings on the label include Full of Life (SPM-1803), Still Voice (SPM-1802), Heaven & Earth (SPM-1801). https://johngregorius.bandcamp.com/album/in-awe
Multiplatform Link: https://orcd.co/in-awe
Brittany Bliss and Reid Givens make up the twosome, and their journey is a touching story of reinvention, reclamation, and second chances on love. In addition to warming hearts, the couple are opening minds to female artists and helping shift the narrative of women in creative fields through support and exposure. Brittany and the Blisstones released their recording debut EP, 'La La Love,' on Friday, May 13th.
“We recorded the songs ourselves. We rented a garage and built a small room inside it to record the live instruments in. We purchased the rest of the gear needed and tracked everything we could ourselves. For instruments we can’t play (trumpet, cello, etc) we hired musicians from all over the world through the internet to record the parts and send them back to us,” shares the duo.
Brittany and Reid write songs that sweetly seduce you into mindfulness. The mellow tones of their distinct island-pop draw from an expansive artistic palette of pop, orchestral, rock, jazz, reggae, ska, Latin, new wave, and beyond. Brittany contributes sultry vocals, jaunty ukulele playing, and co-writes the songs alongside her partner Reid, an accomplished drummer and percussionist with an expansive command of rhythms and a keen sense for the healing power of good grooves.
The five-song EP bursts open with “Mermaid,” the first song Brittany ever wrote. It is a song about reconnecting with nature, but it also seems to be about reconnecting with Brittany’s own human nature. The lyrics brim with breathtaking imagery and awe-inspiring reflective moments. She sings: By the sea/A mermaid rewrote the pages of all my dreams, so I found fear and faith in the waves. The music is as majestic as its impressionistic lyrical passages. The song lilts on a vaguely Jamaican pulse and brims with jeweled trumpet melodies, vocals that are sultry and sensitive, lush layers of harmony vocals, and moody chord changes that have a sweet sadness.
The song “Some Times” wields a hypnotic chord sequence and a crisp beat, and exudes a slow-burn emotionality. “This is a song of mindfulness,” reveals Reid. “We can’t control what thoughts pop up in our mind, but we have a choice to focus on the good stuff.” The song’s anthemic outro is a rallying call to choose happiness. It concludes with the lyrics: Let’s all keep singing/We’re surviving the flood/We’re all still singing/Cuz we’ve got air in our lungs.
The title track is a jazzy dose of sun-kissed pop featuring summery horn fanfare. The song’s unflinchingly positive vibes nicely mirror its lyrics. “The song is about how love is our natural state, not something outside of us that we have to constantly be searching for,” Brittany says. She continues: “The love expressed here is not romantic love, it’s about finding love in simple moments in life.”
One of the biggest lessons of Brittany and The Blisstones is it’s never too late. It’s never too late to pick up an instrument. “Brittany just had her first piano recital since the second grade,” Reid marvels. And it’s never too late for love. Brittany says: “We got another chance at love, and rediscovering who we really are as people. It’s been such a beautiful restart.”
Listen to 'La La Love' here:
https://open.spotify.com/album/6sHY9dKwE1L0F4Ptq5p65V?si=5ukinXsWTwahq9P2asBDzg
With her charming and witty lyrics, together with catchy melodies, the song inspires others to stand up for themselves. O´Neill really does dive in and tells a story about her upbringing in a very direct but also genuine way.
¨Daddy´s Pride I wrote completely in 20 minutes, the only song my producer didn´t change a
note. It´s my parents selling my guitars. The biggest failure is for a parent not to teach a child to
be proud and support them. I had the strength to stand up and find it on my own. I know many
don´t and stay lost and insecure.¨
O´Neill draws on a lot of her own experience, as a child, growing up in an abusive and alcoholic environment, she had to develop coping strategies. Now, O´Neill brings this experience to bring the listener a message of compassion, hope and understanding.
O´Neil has released lots of albums throughout her music career, but her acclaimed album “I´m Not That Girl” is one that really showcases her roots and country sound. Her musical influences include Melissa Etheridge, Fleetwood Mac, Cyndi Lauper and Dolly Parton.
Listen here: https://open.spotify.com/track/4aWGBzESpoaHxZVVaNpQKA?si=4536ba9bf8ec4c98
No one is immune to the blame game. People of various religious, academic, social, and political classes play this game all the time, and it can be hard quitting or even realizing what you’re doing.
A lot of Cameroonian artists play the blame game really well. “If only fans would stop listening to Nigerian music”, “if only blogs would stop being selfish and promote our works” and even “if only other artists with bigger platforms will pull us up” and so on.
When we hear talk about fan apathy, we’re quick to clap, but do we really care to listen to the concerns of those who listen or want to listen to our music? Do we approach blogs to plead for a spotlight or do we feel entitled to be noticed by them effortlessly? Do we evaluate our music from the perspective of a listener, or do we feel so good about our work that anyone who doesn’t vibe to it must be jealous or unsupportive? These are questions we need to ask ourselves before we put the blame on unenthusiastic fans or selfish bloggers.
To quit the blame game, whether you’re an artist or in another field, you must always look inward first. Only when you see no blame there, should you look outward.
How to know you play the blame game
When you’re quick to point the finger in a different direction other than at you, you’re a blame game player. If it hurts to admit you’re wrong, but pleasurable to point out someone else for your failure, you’re a blame game player. If when you’re called out, instead of investigating yourself, you’re quick with justifications, insults, and threats, you’re a blame game player. When you have a sense of entitlement, you’re a blame game player.
Dangers of the blame game
The blame game lessens your poor conduct and diminishes guilt
Guilt, in its right place is a good thing. It tells you that something is wrong and needs fixing. But the blame game causes you to push guilt away instead of examining it, so that what should have worked out for your good instead becomes a wasted opportunity. When you don’t see your poor conduct for what it truly is, you become more established in the wrong thing or wrong direction.
The blame game player dodges responsibility and doesn’t learn from their mistakes
We don’t usually grow because of the good things that happen to us. Many times, it takes a negative situation for us to realize our weakness, failures, or need for growth. But you can’t grow if you constantly point the finger at other people for your shortcomings or failures.
Taking responsibility for your situation may be hard, but it’s one of the best things if you want to stretch your potential and influence.
The blame game makes others your scapegoat, so you feel good about yourself
It is easy to label other people as our scapegoat whether mentally or physically. As long as “it is their fault, not mine, it makes me feel good about myself”. Unfortunately, feelings don’t last long, and you will still have to face the consequences of your actions or inaction.
Don’t merely seek to feel good about yourself. Rather desire to be a better person, which sometimes involves shifting responsibility for your situation from others to yourself where it rightly belongs.
The blame game makes you unlikable
Nobody loves to be around someone who constantly sees or puts blame on others and never accepts blame. In fact, playing the blame game proves you’re a narcissist, someone who’s obsessed about themselves that you don’t care how your actions or inactions hurt other people.
How quickly and easily do you take responsibility for your actions or inaction? Do you always feel that your life will be better if only other people put their act together? Please share in the comments below.
Thank you and God Bless
~AkuBai
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Today, they are the alternative and indie rock duo, The Impliers. What hasn't changed is their desire to break out of the box and create music that's unlike anything you'll hear anywhere else. They still experiment with textured synths, electronic beats, harmonies, and oddly tuned guitars. If you listen closely, you can hear influences of Radiohead, The Beach Boys, NIN, The Beach Boys, Tame Impala, David Bowie, Sonic Youth, Depeche Mode, Blonde Redhead, Pixies, and Beck.
Their newest release, "I Promise" is the second from their upcoming album, 'cocoon.' "I Promise" has a psychedelic rock sound with a strong Pink Floyd sound. Dan says, “This is one of the first tracks we wrote for the record and highlights the indie guitar sound we formulated as teenagers within our more modern electronic, layered flavor.”
“Most relationships are loaded with promises, and the composition, tone, look and feel of the promises look different based on the situation, and especially evolve over the span of the relationship. This song tends to mirror that,” shares Dan. The promises in the song morph as the narrative unfolds. The chorus has the most synthetic sounds while the guitar is the primary instrument during the verse and bridge. It's a catchy song and rhythmically pleasing to the ear.
Listen here: https://open.spotify.com/track/235AZlsIraKLj1HDtluHMs?si=76c84a73796c4aec
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