Hello my dear friends! New Miltos Marathon videoclip for the song "Mr no way" coming soon enjoy a screenshot ! Thank you for supporting Miltos Marathon #music.
This first video from my world music band Ancient Future’s Alternate Reality Concert Series was recorded at the inaugural concert on my birthday. It's also the first video to feature my custom Martin scalloped fretboard guitar! It’s a modal improvisation based on Rag Bhairavi and Spanish guitar music. https://ethnocloud.com/Matthew_Montfort/?y_video=14646&b=943
View Online With Video and Photos: https://www.ancient-future.com/newsmarch2021.html March 2021 Issue: Alternate Reality Concerts from the Ancient Future •Dedicated to a Better Future Through World Fusion Music https://www.ancient-future.com/newsmarch2021.html#concert Watch and Share the First Video from the Alternate Reality •Sympathetic Serenade for Scalloped Fretboard Guitar by Matthew Montfort https://www.ancient-future.com/newsmarch2021.html#video Alternate Reality Concerts from the Ancient Future Scalloped Fretboard Guitarist Matthew Montfort Dedicated to a Better Future Through World Fusion Music Subscribers to the Ancient Future Times wrote to suggest that Ancient Future offer virtual concerts during the pandemic and beyond. A new series of Alternate Reality Concerts from the Ancient Future was created in response. Matthew Montfort was the inaugural performer with a 30 minute live concert on his birthday, February 12, 2021. His improvisational scalloped fretboard guitar performance was streamed and recorded on Zoom. More solo performances and call-and-response round robins are in the works featuring master musicians such as Pandit Habib Khan (sitar), Aditya Kalyanpur (tabla), Shenshen Zhang (pipa), and Faisal Zedan (Syrian percussion). To sign up for upcoming shows, simply send your email address to email@example.com. Put "Alternate Reality Concert" in the subject. You will receive a link to participate before each performance. Watch and Share the First Video from the Alternate Reality Sympathetic Serenade for Scalloped Fretboard Guitar by Matthew Montfort Sympathetic Serenade Video Share Link: https://ethnocloud.com/Matthew_Montfort/?y_video=14646&b=943 When Matthew Montfort was working on his debut solo recording for scalloped fretboard guitar (a special guitar modified to enable ornaments characteristic of the sitar), he recorded a number of spontaneously improvised serenades. Were it not for some serendipitous sequencing coupled with the allure of alliteration, it's likely that Sympathetic Serenade would have been released as the eighth improvisation on what became Seven Serenades for Scalloped Fretboard Guitar.Instead, this evocative serenade was released as a mini EP to rave reviews, prompting his addition to DigitalDreamDoor.com's 100 Greatest Acoustic Guitarists list. Inclusion on the list is based on originality, innovation, technique, and influence on other acoustic guitarists. In this live recording from the inaugural performance of the Alternate Reality Concert Series from the Ancient Future, he revisits the piece with a new interpretation on his custom Martin scalloped fretboard guitar in which he expands on the original's use of the melodic elements of Rag Bhairavi and mixes in chordal structures from Spanish guitar music.
Rastak Music Group is an Iranian contemporary folk music ensemble that was formed as an experimental music group in 1997.Rastak seeks to collect, record and interpret Persian Folk Music for a global audience. Rastak incorporates Persian language, Iranian culture and history as well as merge traditional instruments and forms with contemporary rhythms. Rastak has done extensive research into Persian folk music both academically and in practice. They have been focused for the past two decades on the sound of Iranian folklore and diverse cultures; resulting in five albums, five singles and numerous concert tours in Iran and overseas. Rastak has appeared on several international music festivals and has held many concerts in Iran, England, Austria, Germany, France, Italy, Spain, The Netherlands, Sweden, United States, Canada, Australia, India, Japan, Malaysia, Chile, Poland, Turkey,Georgia, Belgium, Oman, Belarus, Kazakhstan, Bangladesh [Dhaka International Folk Fest 2017],Iraq , Erbil, United Arab Emirates among others.
Award-winning singer/songwriter Gilli Moon has released 2 full volumes of her genre-defying double album Beautiful Mess, which in this day and age of single releasing a Smörgåsbord of tunes. Beautiful Mess Vol. 1 includes the stylistically intriguing “Summer Heat” from Beautiful Mess Vol. 1. The song has a slow bossa nova feel that makes it really jazzy and enjoyable. Moon’s sultry vocals paired with the authentic instrumentation give the song a really nice groove that I know people who enjoy jazz would really vibe with. Beautiful Mess Vol. 2 includes the song “Ambiguity”, which made sure to give us all the angst. The intro of the song seems to pull influence from the James Bond theme style; insanely sultry and dramatic. When you least expect it, the song bursts into a driven rock song that any woman can relate to. It has all the pent up rage of someone who has had to deal with a crappy guy. Moon’s vocals and songwriting skills are on full display with this single. With the release of Beautiful Mess, Gilli Moon has proven that she can write songs for any genre. She put her own spin on a Latin-influenced song with “Summer Heat” and she executed it beautifully. “Ambiguity” is a perfect post breakup banger for any woman who needs to get over their lousy ex. People who think Moon is just an indie songwriter are sorely mistaken, especially with the release of this epic collection of songs. Listen in here! https://open.spotify.com/album/6f0HM3OTk1ctG0xP2VOFr1
Composer and soundscape artist Jeff Greinke presents an elegant musical landscape of delicate compositions and harmonically rich ambience, an album titled Other Weather. The eleven slowly-unfolding tracks offer multi-layered textures that weave acoustic and electronic instrumentation into a gossamer soundscape that shimmers with the stillness of a perfectly calm atmosphere in the warm light of early dusk. Other Weather, on the Spotted Peccary Music label. The title Other Weather refers to Greinke's very personal and experiential relationship with the weather, especially the beautiful and sometimes indescribable meteorological phenomena that aren’t often noticed or talked about. Greinke explains, "My interest in the weather has always been predominantly experiential, and as I get older I find myself attracted to its subtler and quieter aspects. I see a connection between this interest and the kind of music I like to make. This feels especially true with this album." Jeff Greinke has been a composer since 1980, and he has dedicated nearly 40 years to making and recording music. He has performed throughout North America, as well as Europe and China, and his music has been heard in theatre, radio, art installations, and major motion picture trailers. Other Weather is Greinke's 20th solo album, and his fourth on the Spotted Peccary Music label. Greinke describes his very specific and timely inspiration for Other Weather, “I live in the Sonoran Desert, just outside Tucson. In late April and early October there is a brief window – maybe a week or two – when a variety of conditions come together to create an almost magical environment. It’s a feeling in the air produced by a combination of the temperature being just right – 84 or 85 degrees, the air being perfectly calm, warm early dusk light and low relative humidity. It lasts maybe 10 minutes. It’s an experience that is beyond words for me. It’s utterly exquisite.” In the near future, fans can catch Greinke performing for this year's live streamed Soundquest Fest on March 28th, beginning at 10AM PDT / 1PM EDT on YouTube. SoundQuest Fest, launched in 2010 as a live festival in Tucson, Arizona, was created by ambient music pioneer Steve Roach. From March 26-28th, a continuous flow of streamed performances, audio-video wonder worlds and deep immersion zones will entrance electronic, ambient and visual art fans. For more about SoundQuest Fest, visit https://soundquestfest.live/ As with 2018's Before Sunrise, Other Weather spans the genres of modern classical, electronic, and ambient as it gently evolves through a refined set of impressionistic ambient chamber music. Blending electronic ambiences and effects with an acoustic ensemble that includes cello, viola, violin, French horn, clarinets, flutes, and small percussion, Greinke realizes his musical vision through an empirical process of improvisation and experimentation, combining tracks and layering sounds, and uncovering the magical moments as they reveal themselves. High-level stratocumuli form clouds open out before me, an enchanted world of the genus cirrocumulus forms, where snow begins when moist air at high tropospheric altitude reaches saturation, creating eloquent ice crystals or supercooled water droplets. Other Weather presents with eleven pieces, chiefly excited by movements taking place high up in the air. The overall mood of Other Weather is subtle, the sound is primed for interpretation, like clouds, with a huge vista appearing solid while being gentle. The sound possesses a quite extraordinary range of different timbres and vibrates along with the air inside it. The sensation is of the instruments having a conversation or perhaps painting a picture, always truly beautiful, and often formed by woven piano with strings and various wind instrument combinations, a complex satin fabric of sound. Full, lustrous, and metallic, a clear, clean, and brilliant sound, “Rain Through the Night” (04:00), is an introspective piano and percussion exposition, building out of the heart of darkness and joined by subtle sensuous deep strings with a mellow, dark and rich tone. My favorite track of this album is “Falling Sky” (05:19), coming in with very distant cold shimmering glimmers of tones, subtle glimpses of approaching astral matter traversing from so far away. A dreamy piano emerges from electronic clouds that hang there. Cumulus clouds are rounded masses heaped upon each other above a flat base that hangs in the sky. These are the big puffy clouds you see most of the time, but they can appear to be quite huge and rise to fantastic distances. Cumulo is a Latin word that means heap or pile. “Rising Cumulus” (04:27) features a piano joined by bowed strings, building to great heights, massive acoustic forms accentuated by emerging electronics and shapes that continue on and on, building and ascending, a thread woven through, blending and balancing, a beautiful, mellow, sweet tone. Depending on the atmospheric conditions, cumulus clouds can eventually turn into other types of clouds, including storm clouds, also known as thunderheads or cumulonimbus clouds. Greinke sometimes intrepidly includes the squeaks and bowing sounds that real instruments make, and that adds a lot of emotional depth to the pictures that he paints with his compositions, thus the sound characteristics of the violin are not predetermined by the score, but their presence is accommodated to bring about a deeper realization of the intended compositional design. From silence there is a lustrous distant sound, we are drawn in closer and pause to hear some fine details, then we float on beyond the source, and our perception of the sound fades, the music possibly forever continuing in our absence. Piano and classical guitar glide together using subtle phasing techniques to layer up lots of depth and gradual motion across the sky, to create a tone poem that defies categorization, “Clouds Like Flying Saucers” (04:19). Now join a search for new resonance and a new type of voice for the keyboard dream machine, “Outflow” (04:38), with electronica arranged in changing layers, bits of piano sustaining this solemn transfer, with sparkles and hints of complex forms hidden inside. Shelf ice occurs when floating pieces of ice are driven by the wind, piling up on the lee shore. The track’s title, “Icebreaker” (07:26), made me think there is going to be a crushing sound and shattering sheets of ice, but to me the music is actually about delicate arctic poetry, cold shivering strings take form, joined by woodwinds and haunting brass, featuring Heather Bentley on cello, viola, and violin; Greg Campbell on French horn and small percussion; James DeJoie on clarinets and flutes, with the sound perhaps portraying the electromechanical properties of ice and its nano rheology (the flow of sub-microscopic crystalline water matter). In the final analysis, what I am left with is a dream about traversing the vast northernmost waters. Composers sometimes seek new timbres, art music once modeled on Baroque and early classical forms can now emerge free from traditions. Central to the story are the tensions and the intimacy developed between the musicians, the composer, and of course, the listener, but this distinction is far from rigid. Acting now as a strange composite being that is never alien to the concert hall, yet free to dwell anywhere and be conjured at any time by the touch of a button, the moments of true intimacy occur whenever the spirit moves one to give oneself up to it. Enter a zone of magic, a close understanding of shared musical experience that is performed by a small number of performers. Other Weather was composed, arranged, and produced by Jeff Greinke, recorded at Another Room, Tucson, and Invisible Studio, Seattle; the Seattle session was engineered by Rob Angus, the album was mastered by Howard Givens, and is available for physical purchase in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats. The physical CD version of Other Weather arrives in a factory sealed 6-panel gatefold package that includes vibrant artwork, liner notes, a 4-page booklet, and exquisite package design by Daniel Pipitone. Tracklist: 01 A Stretch of Sun 4:35 02 Rain Through the Night 4:01 03 Falling Sky 5:19 04 Rising Cumulus 4:28 05 Snow Across a Windswept Plain 9:06 06 Clouds Like Flying Saucers 4:20 07 Outflow 4:38 08 Storm Chaser 5:42 09 After the Rain 3:50 10 Icebreaker 7:26 11 Across the Sky 5:42 About Jeff Greinke: Jeff Greinke is a musician, composer, performer, and sound sculptor who is known worldwide for his unique sound. Through a highly developed process of layering, Jeff composes and performs music rich in texture, depth, mood, and subtle detail. Using various acoustic and electronic instruments, found sounds, and extended studio techniques, Jeff sculpts sound worlds that conjure a strong sense of place, hovering somewhere between the exotic and the familiar. With numerous releases to his credit, Greinke has been an active artist for more than three decades and has composed music for film, video, dance, theater, radio, and art installations. OTHER WEATHER, is Jeff’s fourth release on the Spotted Peccary label. His previous SPM releases include BEFORE SUNRISE (SPM-3701), VIRGA (LSM16), and WINTER LIGHT (LSM09). Jeff’s music can also be heard on numerous compilation recordings. http://www.jeffgreinke.com/ About Spotted Peccary Music: Portland-based Spotted Peccary Music is North America’s finest independent record label with a focus on deep, vast and introspective soundscapes. For over three decades, the artists of Spotted Peccary have been on a mission to develop, produce, publish and release ultra-high-quality, deep-listening experiences that engage the listener and exceed expectations. Every release is carefully prepared in a variety of high quality formats from MP3 to high-res studio masters. Explore more than 170 titles and 46 artists at www.SpottedPeccary.com and www.AmbientElectronic.com. Links: Spotted Peccary Album page: https://spottedpeccary.com/shop/other-weather/ Spotted Peccary Artist page: https://spottedpeccary.com/artists/jeff-greinke/ CD unboxing: https://youtu.be/tMows5jcaCw Bandcamp: https://ambientelectronic.bandcamp.com/ Instagram: https://www.instagram.com/spottedpeccary/ Spotify: https://open.spotify.com/user/spottedpeccary SoundQuest Fest 2021: https://soundquestfest.live/
Music has been around since ancient times. At its heart Lamentations is about the relationship between music and realizing overall physical rehabilitation, and facilitating movement, increasing people's motivation to become engaged in creating their own treatment, providing emotional support for individuals and their families, and providing an outlet for expression of feelings. Lamentations expresses the grief and disbelief of those who have lived through the difficulties of 2020 and yet still looked to their purpose. Not just an outpouring of emotion, however, Lamentations also contains a profound theological reflection and response to the problem of suffering. As much as we may wish to leave 2020 behind, there is still much to process, and music provides a gentle approach. LAMENTATIONS is a new album of ambient music by Long Beach, CA-based composer and performer Thomas Peters, who recorded as a one-man-orchestra using cutting edge computer electronics and synchronized electronic soundscapes, performing on bowed NS Design EU-6 bowed 6-string electric double bass designed by the legendary Ned Steinberger, and a laptop with Ableton Live. Lamentations is now available worldwide digital release through DistroKid. Lamentations is a new direction for Peters, who is a composer and GRAMMY®-nominated performer known for creating multimedia works featuring classic silent films. He contributed to the 2014 Grammy Nomination for Best Small Ensemble Performance for John Cage: The 10,000 Things, on MicroFest Records; he also participated on 2015 Grammy-winning album for Best Small Ensemble Performance for PARTCH: Plectrum and Percussion Dances, on Bridge Records; and participated on 2016 Grammy-nominated album for Best Instrumental Album for flutist Wouter Kellerman’s Love Language. With his live performances placed on hold, the pandemic created in Thomas the need to explore a new musical direction, and a growing interest in experimental classical music. He uses “process music” techniques such as phasing and aleatoric techniques to create slow, constantly shifting sonic tapestries. For example, the track "Drifting" uses three strata of looped musical phrases of unequal length, played at the same time. The result creates 30 different chord combinations. The bowed electric double bass provides the foreground that carries the musical narrative forward. The relaxing music of Lamentations is also inspired by a more personal point of view. Peters is forthcoming about his diagnoses with Autism Spectrum Disorder (ASD), a topic on which he also writes and gives lectures. As a person with ASD, Peters has frequently had to use coping strategies to keep himself from getting emotionally overwhelmed, and it occurred to him that in this pandemic era, such strategies and techniques may be helpful to everyone. Thus, the album was composed to provide some respite and release to all who listen. Peters said he has found it tremendously helpful in times of stress to listen to music that is quiet and in alignment with the emotions he is trying to process. "As a person with ASD, I have frequently had to use coping strategies to keep myself from getting emotionally overwhelmed—a skill that most people who are not on the ASD spectrum never have to develop. Lamentations is a way for me to share one of my key coping strategies with those who are not on the spectrum, but who are suffering with similar feelings of sensory overload and overwhelm right now." What you will hear is inspirational instrumental meditations, quiet and serious, each intimately related by both structure and content into an overall singularity, and yet each a separate work; this is Lamentations, a new direction for multiple GRAMMY-nominee Thomas Peters. The emotions expressed within these nine pieces are a soothing tonic for the raw and dramatic times we endure, providing a hopeful and positive glimpse of the restoration ahead. The primary instrument is an electronic bass (NS Design EU-6 bowed 6-string electric double bass designed by the legendary Ned Steinberger) bowed and occasionally plucked, sometimes joined by chimes, sometimes by an ethereal choral presence, and sometimes by a simple ukulele, and his laptop with Ableton Live. The intention of this album is to accomplish universal healing goals for 2021 and beyond, to provide emotional uplifting, and to create a space to process difficult emotions. The task of processing emotion and despair is important for finding healing and peace, but such efforts are sometimes difficult. Music can heal people and act as a preventive medicine, it also offers a simple way to improve troubled sleep, improving our ability to fall asleep and feel more rested. This music is uplifting and respectful of these emotions, which makes the listening experience rewarding. A lament or lamentation is a passionate expression of grief, often in poetry or music. The Book of Lamentations is traditionally ascribed to Jeremiah, and tells of the desolation of Judah after the fall of Jerusalem in 586 BC. The patterns in music and all the arts can contain the keys to improve mood through emotional expression and release. A healthy brain tries to make sense of the world around, and the constant information it receives, including sound and music. Empathizing with grief provides avenues for communication that can be helpful to those who find it difficult to express themselves in words. If you can use music to navigate past the pain and gather insight into the workings of your own mind, you can begin to fix a problem. Depression is a highly prevalent mood disorder that is characterized by persistent low mood, diminished interest, and loss of pleasure. We must remember that mercy never ends, and is renewed every morning. Music may be helpful in modulating moods and emotions, creating room for a positive transformation and adaptation, our abilities are strengthened and transferred to other areas of our lives. Since 2008, Thomas Peters has been a successful silent movie composer and performer, creating new music for such classics as Nosferatu, The Cat and the Canary, Pandora’s Box, The Cabinet of Doctor Caligari, The Lodger: A Story of the London Fog (Alfred Hitchcock’s first big success), Der Golem and Chicago. His score for The Passion of Joan of Arc premiered at the 2013 Toronto Silent Film Festival with acclaimed viola da gambist Joelle Morton. Silent movies were never silent. When creating his soundtracks for silent movies, Tom is accompanied by computer-synchronized soundscapes that may include anything from voices to drums to ukuleles. He performs the live portion of the score on the EU6 with composed and improvisational elements to create a truly unique sight and sound experience. TRACKS 1 Out of the Depths 2 Drifting 3 A Million Pieces 4 Remembrance Canon 5 Without You 6 Still 7 Tenderness 8 Prayer 9 De Profundis For more information about Lamentations or Thomas Peters, visit: https://silentmovietom.com/home https://thomaspeters.bandcamp.com/ https://open.spotify.com/album/18u6qtMMT0RuwwdYsyogWc?si=WeRGKM0yTpaUNJKldxDGXA https://www.youtube.com/channel/UC0CmvCcz_wKKkSjzEk9xGhg
Released on January 21, 2021, “Beautiful Mess Vol.1” is the first half of a two volume album by Gilli Moon. Gilli Moon is an Australian award-winning singer, song-writer, and producer. Since her U.S. debut in 2000, she has released 8 albums, 3 books, and received many international song-writing awards. Not only has her independent music career flourished throughout the years but so has her music and production record label, Warrior Girl Music. Gilli along with her record label are known as pioneers within the independent music industry, being one of the first within the field to embrace the digital age during the turn of the century, as well as empowering musicians through an Artist-Led strategy. The album, “Beautiful Mess Vol.1”, consists of 12 songs and two covers, in the style of Gilli, coming in at about 45 minutes. Though not very common in this digital streaming day and age, you can tell the album is meant to be listened to from start to finish without shuffling. From the very first second of the first song, “Fire”, there is a rush of energy in the fast-paced reverberating guitars that make you want to go outside and run. That same passion is maintained until the sixth song of the album, “Falling”, where the sound becomes a bit slower and more sensual. Through the Do-Wop inspired cover of “Chuck E’s in Love”, and the beachy vibes of “Summer Heat”, the album ends on a bitter-sweet note during “I See Your Face”, a minimalist heartfelt ballad with just Gilli, her beautiful singing voice, and a piano. What is done particularly well in this album is Gilli’s way of portraying her emotions that make the songs feel relatable, personable and infectious. Gilli shares her pain, heartbreak and joy with her audience and genuinely makes us fall in love with the beautiful mess of emotions we feel every time we listen to the album. The second half of this epic album will also contain 12 amazing songs, and is set to release February 19, 2021. Listen in here: https://open.spotify.com/album/2Nlj5u8WbwIErNUMnTyUAM
I genuinely cannot put into words how much I loved classical composer Gustav Hoyer’s new single “Innocence”. The title of the track fits the composition perfectly from beginning to end with the choice of instruments and the floating feeling everything has. Hoyer has said before that it is his mission to break the stereotype that people always associate with classical music, and with this single and the rest of his discography, I believe that he is making his dream a reality. The beauty in “Innocence” is the simplicity of the composition. Relying mainly on the string section of the Budapest Film Orchestra, Hoyer uses beautiful harps and swelling violins to give listeners an overwhelming feeling of warmth. While most of the song is very joyous, there is one part that contrasts from the rest, having a more dark and conflicting presence. The resolve from this section of darkness back into the light helps to relay the message of this song. There is so much to love about this song, no matter what your opinions about classical music are. Gustav Hoyer has made a very impressive reputation for himself as a composer, and songs like “Innocence” perfectly display why. The way the composition of the song is able to bring emotions out of people is breathtaking. It’s songs like the ones Hoyer creates that remind me why I love playing in symphonies myself. “Innocence” is the second single to be debuted from Hoyer’s upcoming album. It is set to be released in the summer of 2021, and let me just say, I can’t wait. Listen in here: https://open.spotify.com/track/6uFZvaz1AOIFlrpK2xK4Tt
La Porteña Tango with 13 years of experience and almost 700 concerts performed on stages in 20 countries on four continents dresses up to present a new show at the Gran Vía Theater in Madrid. La Porteña proposes a modern and renewed show where music, dance and stories are intertwined that range from the deepest emotions, to mischief and humor. Remembering that Argentine Tango is a popular music and close to the public of all ages, moving it away from clichés and common places. A show that invites us to stroll along a long and winding path that runs through the history of a music that was humbly born in the suburbs and ports of the Río de La Plata and transcended the world by its own power almost without even trying. The members of La Porteña never forgot those fundamental precepts and in their presentations the old classics of the genre coexist with the most modern sounds, the impudence, the new harmonies and the avant-garde of the compositions of the genius Astor Piazzolla to whom they dedicate a part of their new show especially, due to the centenary of his birth. La Porteña Tango has 5 albums released with the mythical Melopea label of Argentina, with the production of Maestro Litto Nebbia and has presented with great repercussion his music and dance shows "Un Placer!" "Perfume de Tango" "Buenos Aires ... When I saw myself far away" "That they are going to talk to me about Love!" and "10 Years" in many of the most famous theaters and World Music festivals in the world, making more than 80 presentations per year and making them the group with the highest audience in Europe today. The group, led by the guitarist Alejandro Picciano, together with the pianist Federico Peuvrel and the young revelation bandoneonist Matías Picciano, incorporates in June 2019 the exquisite and powerful voice of Melisa Fernández. Together they amaze the traditional tango spectator and seduce new interested parties who approach the genre due to its freshness and proximity. The poetry of Buenos Aires, tangos, waltzes, milongas, candombes and old country tangos are adorned with this dance so Argentine that it captivates the whole world and beautiful choreographies created by a stable dance corps with luxurious costumes and colorful audiovisuals, generating a unique and attractive staging. Musicians: ALEJANDRO PICCIANO, Guitar and Direction FEDERICO PEUVREL, Piano MATÍAS PICCIANO, Bandoneón MEL FERNANDEZ, Voice Danncers CARLOS GUEVARA & DÉBORA GODOY DAVID SUAREZ & JUANA ESCRIBANO GUILLERMO LEÓN HENAO & GEMA LEIVA
Varro Vivyds is a Santa Cruz native who creatively captures her emotions and writes them in such a way where the audience will feel like they’re experiencing them too. Her melody work will have her songs playing in your head during the day, and keeping you up at night. Varro Vivyds shares of the track:“Fool’s Gold was the first song I wrote after a six year hiatus due to struggling with active addiction,” said Vivyds. “It’s a beautifully written break up song about my first clean relationship, and first clean break up. Fool’s Gold is extremely relatable, and when you listen, it feels as if it was written for you personally.” In her new single “Fool’s Gold”, Varro Vivyds captures this feeling with a pristine and immaculate perfection. Just like its subject matter, this track is deathly addicting. Its arrangement is minimal in the best way, there’s nothing you don’t want and everything you do. Dive in! https://open.spotify.com/track/5AuNxkSgp2JxylBvixA88e
Multi-talented Sandhya, originally from New York but based in Baltimore, has built an impressive sound inspired by a melting pot of classic rock, jazz, and pop music. Sandhya is a writer, which explains the fabulous storytelling and imagery in her lyrics. Come Spring 2021, she hopes to release a full-fledged album with driving grooves similar to the gospel-funk “Last Two Standing.” “Last Two Standing” is a mix of many genres. It has a wonderful way of combining sounds similar to Elton John and Pink Floyd (one of her favorites). The track is a love song mixed with a commentary on climate change and class. The lyrics highlight “the year 2083, when everybody is under sea.” The chorus provides a driving plea from the narrator to their partner, “Won’t you love me like we are the last two standing?” The power chords keep the song feeling upbeat, even with the slow swinging tempo. Sandhya comments on the original intention for the song: “I started writing the first verse thinking it would turn out to be a political song expressing rage about wealth inequality and global climate change. But by the chorus it morphed into a beautiful, if slyly cynical, love song.” Sandhya’s upcoming album, INNOCENT MONSTER, is definitely on our minds. We can’t wait to hear more power anthems like “Last Two Standing” from this fabulously talented singer, writer, producer, and the list goes on. Take a listen here: https://open.spotify.com/track/34f0RuzvWfai3zKM1Jwf9y?si=wjjdkwrGSYSYwDvVCLsixw
Hi all, Happy New Year! Flippin' heck, 2020 really opened my eyes... that year was all about connecting with one's vision right? I'm going to be sending out news of new projects via email. Please go here to sign up for my mailing list: http://micropixie.com lots of love Empee, x
I've been extremely busy, these past few months between the online courses in studio production and studio engineering, i did find time to produce some new works , and i must say that those classes are paying off.. covid19 was a bit of blessing in disguise cause during the month long lock down i took to the studio and recorded over 12 songs , had the time to have polished and ready for the waves . This only the start of the new year and I've already released 2 songs and a third one will be out the month end so be on the look out for more hot new singles from Cha li x & the X Music House...
Spotted Peccary Music has a new album of instrumental space music created using electric guitar, synthesizers and theremin, a series of explorations of distant territories. Free-falling objects are moving along locally straight paths in curved spacetime, influenced by dark matter, quantum gravity, supergravity and an array of gravitational singularities. What you will hear is a dialog between two inspired friends, guitar and synthesizer, taking us on a journey through frightening vertiginous expanses. Gravity is responsible for many of the large-scale structures in the universe, and Strange Gravity contains wordless dreams beamed from the otherworlds, bringing a cargo of ideas and mysterious atmospheres, with some new experiments for the positioning of sounds in the wilderness. There are extra-fast stars, an occasional flyby anomaly, at times you can see that some stars at the edges of galaxies are orbiting faster than should be possible. The umbrella girl returns. This is the second collaboration of Marvin Allen and Craig Padilla, the first album is titled Toward The Horizon and came from Spotted Peccary in early 2019. Umbrellas offer portable shelter, durable enough for ordinary gravity and ordinary falling rain, but there is more of a challenge when the strange forces of the wind change the direction that the rain moves. Strange Gravity continues building on the frightening vertiginous depths and the presence of gigantic flying objects overhead discovered on the first album. This new starship is headed for the unknown, to mystery spots and places around the cosmos said to contain gravitational anomalies, where the oldest laws of nature appear to have been turned off. The album releases everywhere on January 15, 2021, on most platforms, in formats listed here: https://orcd.co/strange-gravity-pre Strange Gravity is a compelling example of what is possible when two gifted musicians from different musical backgrounds are pulled into a common orbit and develop a creative synergy. Riding the waves of inspiration, the duo deliver an honest and spellbinding blend of ambient electronic atmospheres, Berlin school sequences, and classic rock flavored guitar textures. Interspersed with introspective moments – and even a few memorable melodies – the music on Strange Gravity moves through an array of music moods that range from hypnotic and dreamy, to powerful and epic. Swirling electronics, pulsing synthesizers, soaring guitars, and hypnotic rhythms twist and turn throughout the album’s 65 minutes, gliding through the stratosphere with an effortless freedom. Craig Padilla & Marvin Allen’s Strange Gravity is the perfect follow-up to their debut album Toward the Horizon (SPM-9086). In an imaginative review, music journalist Robin James describes the sound as “a dialog between two inspired friends, taking us on a journey through breathtaking vertiginous expanses, the inertia builds slowly until the warping phenomena kicks in and a flock of creatures, perhaps mermaids or tiny bizarre aliens, continue their flight in the direction of the horizon.” Allen reveals that “The sound of the album is a blend of Craig's Berlin School and ambient tendencies connecting with my bluesy classic rock leanings. The title, Strange Gravity, relates to the way Craig and I are drawn towards a common center.” “Strange Gravity is a continuation of what we began with Toward the Horizon about the story of the Umbrella person, and how she represents all of us regarding how we gravitate towards others,” says Padilla. “The music is a natural progression from the first album to this one with more ambient rock music filled with melodic sensibilities and experimental ideas.” Strange Gravity was mastered by Ben Cox, and is available now for physical purchase in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats. The CD version of Strange Gravity arrives in a factory sealed 6-panel gatefold package that includes vibrant artwork, liner notes, a 4-page booklet, and exquisite package design by Daniel Pipitone. Tracklist: 1 Strange Gravity (18:46) 2 The Revelation (06:47) 3 Friendship (11:00) 4 Fractured Illuminations (09:40) 5 All Around Us (18:19) Visit Spotted Peccary's official website for new, limited edition 35th Anniversary merchandise, as well as its new free sampler, 34. Watch the label's 3+ hour TRANSMISSIONS livestreams on YouTube, and listen to its artist-curated IMPULSE playlists on Spotify. About Craig Padilla: With more than 40 releases over the course of his prolific career, Craig Padilla has proven to be a driving force in the current electronic music scene. Never letting technology overcome the humanity in his compositions, he creates electronic music that is rooted in tradition while still sounding new, interesting and fresh. Craig has always endeavored to create engaging musical landscapes as experiences to be treasured and played indefinitely. About Marvin Allen: Marvin Allen is a northern California based multi-instrumentalist, singer-songwriter, performer, and music educator. As an accomplished musician, he has been lending his talents to numerous jingles, recording sessions, and short film soundtracks for many years. He also co-founded the Shasta Blues Society and continues to mentor many talented youths. His 2019 collaboration with longtime friend Craig Padilla is Allen’s first foray into the world of ambient electronic music. About Spotted Peccary Music: Portland-based Spotted Peccary Music is North America’s finest independent record label with a focus on deep, vast and introspective soundscapes. For over three decades, the artists of Spotted Peccary have been on a mission to develop, produce, publish and release ultra-high-quality, deep-listening experiences that engage the listener and exceed expectations. Every release is carefully prepared in a variety of high quality formats from MP3 to high-res studio masters. Explore more than 165 titles and 45 artists at www.SpottedPeccary.com and www.AmbientElectronic.com. Links: Spotted Peccary Album page: https://spottedpeccary.com/shop/strange-gravity/ Album Unboxing Video: https://www.youtube.com/watch?v=lb_K16f3cOA SPM Artist page: https://spottedpeccary.com/artists/craig-padilla-and-marvin-allen/ Bandcamp: https://ambientelectronic.bandcamp.com/ Instagram: https://www.instagram.com/spottedpeccary/ Spotify: https://open.spotify.com/user/spottedpeccary
Shunia is a duo comprised of Lisa Reagan and Suzanne Jackson, the word “shunia” (shoon-ya) means a stillness of power -- quiet, unmoving, and totally focused. The core of the music is the synergy of these two voices in combination with various instruments, and on this, their second album, there is the voice of Hassan Hakmoun on several tracks. The sound is a blend of chant, mantra and opera, always positive and uplifting. The music eminates empathic confidence, creating a sound that succeeds at reducing stress, promoting relaxation, and improving emotional health. To create their self-titled album of transcendent music and melodic harmonies, Shunia co-composed with Tony Award-winning producer Jamshied Sharifi. The album takes the listener through mantra melodies, energetic vocals, and dynamic compositions worthy of a feature film score. They are joined by renowned Moroccan artist Hassan Hakmoun, the godfather of Gnawa music, performing on two of the tracks. On the making of SHUNIA, Lisa Reagan says, “As musicians whose lives have been enriched by chanting, we wanted to create a beautiful garden of sound where the chants could come alive. The mantras that we are chanting on this album have been chanted for thousands of years. We thought about the unique energy of each of these mantras and created music that would be in harmony with it. Our hope is that people will sing and dance along with this album because it profoundly moves them.” There is indeed a sense of deep focus present in each track on SHUNIA, which invites listening on dual levels. On one level, listeners are entertained by stunning compositions, virtuosic playing, and the duos’ rich vocals. On another level, one can focus on the wisdom of each mantra and lyric as it is expressed with deep conviction and impressive clarity. A page on the Shunia website dedicated to "mantra" further explains the meaning of each track. Shunia's music is recommended for group classes or personal practice of yoga, and for simply gathering inspiration to move into a healthier and more enlightened future in 2021. In advance of the full album debut, four tracks were released with inspiring videos, including "Akal" (June 2020); “Sa Re Sa Sa” (October 2020); “Breeze At Dawn” (November 2020); and “Alleluia” (December 2020). The duo's high-quality, uplifting videos are available at this YouTube location: https://www.youtube.com/channel/UCVvsZECVFyfF5OFCS5VWJCw Repetitious chanting allows one to focus on breath and leads listeners to deeper relaxation and a stronger connection with life. The arts have a unique power to heal and transform. We want to be happier and at peace within ourselves. We are all interconnected on the planet and ancient religious ideas are now being proven by contemporary science, repeating the same phrase over and over again has a beneficial effect on body, mind and spirit. There is a theoretical potential for conflict between contemplative Christian faith and Yoga, Tai Chi, and related disciples -- the yogic path and the Christian path. Shunia has successfully merged these two sacred life paths creating universal meditations for healing, and simply letting your mind let go of all its temporal concerns. The first mantra on Shunia removes negativity from within, awakening the infinite creative energy to burn away obstacles to achieving higher consciousness. Sa is the Infinite, the Totality, God. That Infinite Totality is here, everywhere. That creativity of God is here, everywhere. "Sa Re Sa Sa" (3:02) features the voice of Hassan Hakmoun, which is joined by the two choral voices of Jackson and Reagan, creating an empowering and invigorating feeling, upbeat and positive. A bright energetic orchestral mantra that helps you conquer the wisdom of the past, present, and future. Persian poet Mewlana Jalaluddin Rumi (1207 - 1273) wrote the words for "Breeze at Dawn" (4:12), a mystical sound for a poem of romance with sweet breezes coming from the darkness before the dawn, repeating the words, spoken low by Hassan Hakmoun and joined by the choral voices who sing the lyrics. "The breeze at dawn has secrets to tell - Don’t go back to sleep. You must ask for what you want - Don’t go back to sleep..." Everything is vibration, observes the spirit of Shunia. All the energy in the universe exists in different vibratory levels. Combining music with meditation can deepen the positive effects of both, and bring about greater stress relief. Bringing comfort, solace, reassurance, peace, composure, and quietude serves to uplift humanity through the oldest universal teachings, foster the creative spirit and bring a new awareness to the voice and body connection. Shunia continues to foster a mindset promoting meditation, relaxation and stress release which are all so important for our health. Shunia merges the art forms of chant and opera and promotes the body’s own natural healing processes. Universal Energy exists around us, all of the time, nature gives us everything we need to overcome the distance between God and humans. When the duo Shunia discovered the hidden dimension and power of singing chant music, they wanted to share this profound experience. You have a physical body and an energy body. The chakra system is a main conduit for energy. In order to live at our highest potential, our chakras must be aligned. If we want to make changes in our lives, we have to change ourselves. In the sharing process, each faith must maintain its own unique identity and integrity, to bring together the voice and body vibration as one and develop strength, balance, harmony, and flexibility. The music of Shunia provides a way to calm the monkey mind and to journey towards a totality of being, honoring eternal change. In an article by Lisa Reagan in LA Yoga Magazine (December 15th, 2020) the story of this collaborative project is revealed. "It goes all the way back to when I first started going to kundalini yoga classes many years ago. They were great, but often had subpar music playing on a cassette that we all chanted along with. As a classically trained musician, I often found myself distracted by some of the music I was hearing. As years went on, I did find a couple of chant artists I liked, but for the most part the music left me feeling unsatisfied. However, there was one artist, Singh Kaur that I loved. It was such a joy to hear her sing the mantras so beautifully. For me, it elevated the whole experience of chanting. I listened to her for years. When I chanted with her, I felt happier. I also recorded my own versions of the mantras and would chant along with my own creations. One day I ran into a musician producer friend of mine, Thomas Barquee, in Santa Fe. He and I talked about how great it would be to work together. So, we decided to make an album. It started out as a typical songwriter and producer situation. He was going to produce some songs I had written, but that’s not what ended up happening. We only worked a few days together before he had to leave for a European tour, so we didn’t make a lot of headway. While he was away, I was visiting my friend Suzanne Jackson, whom I had known for many years from college and The Washington National Opera. We had created several projects together and we were talking about what we were going to do next." Reagan continues, "Every time I meditated with these chants, I always felt a sense of joy, well-being and appreciation for them. There was something in my gut that told me I needed to find the album’s producer and work with him. Finding him was easier said than done, but after a long time searching, I found someone who knew someone that had played on an album he produced with Snatam Kaur, and she made the introduction. Thank God! And that’s how I finally found Jamshied Sharifi. And I’m so grateful I did. I knew Jamshied had recently produced a chant album and it seemed to be something he was really good at. It’s an interesting thing to create a chant album with him. Creating this kind of album is not like a normal exercise of song writing and development. In most songs you tell a story on the verse and then you sing a chorus. But on a chant album, you’re just chanting… Meaning, you say the same words over and over again. So, in a way it’s much more challenging to keep it interesting. You have to use the music to create an atmosphere that transports you. There has to be so much movement and the feeling of ‘going somewhere’ within the energy of the music. This is where having a brilliant composer/producer comes in very handy." Jamshied Sharifi is a New York-based composer, producer, and keyboardist. He has composed the scores for feature films including Harriet The Spy, Down To Earth, Clockstoppers, and Rollerball, as well as contributing music to numerous television shows and independent films. He has produced and/or performed with Paula Cole, Ray Charles, Dream Theater, Laurie Anderson, Hassan Hakmoun, Yungchen Lhamo, Mirabai Ceiba, and many others. He produced Snatam Kaur's album, Beloved, which was nominated for the 2019 Best New Age Album Grammy. Sharifi did some orchestrations for Sting’s Broadway musical, The Last Ship. His orchestrations for The Band's Visit won the 2018 Tony Award. In a review by Kathy Parsons published January 10, 2021 on the blog Mainly Piano, Parsons confides that "I have to be honest and say that I wasn’t sure I was going to like this album, but I ended up loving it. There is so much heartfelt beauty in both the words and the music, that it’s an album that needs to be savored, not just relegated to background music. Shunia is recommended for group classes or personal practice of yoga, or for simply being inspired and uplifted. Close your eyes and let the music transport you to a more peaceful place." SHUNIA is available globally on most platforms today. Physical CDs are available at https://shuniasound.com/ and Amazon. Lisa Reagan, Suzanne Jackson, and Jamshied Sharifi are available for media interviews about the album, and for live guest segments on social media. Physical CDs and a digital Dropbox of the album are available upon request to Beth Hilton at bethhilton@theBCompany.com. Radio airplay requests may be made to Max Horowitz of Crossover Media at firstname.lastname@example.org. Shunia Album Track List Sa Re Sa Sa (4:54) Breeze At Dawn (4:12) Alleluia (6:51) Akal (6:48) Har Hare Han Wahe Guru (6:21) Ang Sang Wahe Guru (6:42) Ong Namo (5:37) Sa Ta Na Ma (8:27) Primary Links: Shunia: https://shuniasound.com/ Spotify: https://open.spotify.com/artist/2zQv6X0oMSlC01mup2lJZ3?si=9mS_kdQCQfiyiDfrZxJP8Q Facebook: https://www.facebook.com/shuniasound/ Youtube: https://www.youtube.com/channel/UCVvsZECVFyfF5OFCS5VWJCw Instagram: https://www.instagram.com/shuniasound/ Twitter: https://twitter.com/shuniamusic
South Carolina-based band Honeypot started off 2021 by releasing their newest single, “Fake News”. Consisting of Frank Hartman on guitar, drums, and vocals and Chris Chamberlin on bass, backing, and production, the band takes influence from classic rock while still having a progressive sound. Honeypot mostly uses their music to comment on social and political topics like the election and human development throughout life. They touch on important issues while still maintaining an upbeat rock style with their music, which I personally respect a lot. “Fake News” was a single originally written in 2018, but in the words of the band, “...now that 2020 and the presidential reign are ending, it seems the perfect send-off to both”. The music video for the song starts off with Martin Niemoller’s iconic poem “First they came…”, a poem that leaves a haunting impression in me to this day. It then goes into the song, which calls out the media and commentates on the presidency of Donald Trump, who is very heavily compared to Adolf Hitler by the song and the video. The song has a very satirical element to it that makes it enjoyable for anyone, even if they don’t really know what is going on in politics. The way the song holds a classic rock sound while still featuring new-age elements like vocal distortion is very impressive and gives the song an edge that other political satires do not have. In a time where talk of politics seems to dominate society, Honeypot definitely shares their opinions in a much more light-hearted way than most others do. They don’t hold back when it comes to what they are thinking, but are still able to make the listener laugh with their delivery. They are insanely clever when it comes to everything they are doing, whether that be with their music or with naming their fanbase the Honeypotheads, which is just amazing. I can’t wait to see what social commentary they make next and how they use their unique sound to do so. Watch the video here! https://www.youtube.com/watch?v=4XyE_cN5ZuY
Canadian JUNO Award-nominated world ensemble Toronto Tabla Ensemble is having a party with some Unexpected Guests in this, their newest album release — available now! Across the release’s seven tracks, the critically acclaimed group of artists weave a variety of instruments, from percussion to bagpipe, piano to taiko, sarod to flute, and more, with their signature sound rooted by the traditional tabla. “This album is a simple one,” TTE Founder and Artistic Director and Roy Thomson Hall Award winner Ritesh Das says. ”Most of the tracks are in very straightforward 4/4 grooves. On our other albums, you had tracks with different time signatures that made it really intellectual and complicated. “I wanted this one to be something that anyone can sit back and listen to and enjoy.” Along with delivering the most approachable songs in their vast repertoire, Unexpected Guests is their latest in a series of boldly collaborative and sonically expansive works. In keeping with its eye-opener title, the immersive and diverse album finds Das and the TTE hosting a party of musical visitors: Enter The Haggis bagpipe player Craig Downie, Japanese Taiko Ensemble Nagata Shachu, singer Maryem Hassan Tollar, violinist Raaginder Singh Momi, flautist Alysha Addetia and more.
Like most others in these challenging times, where gatherings are frowned upon and we are kept detached from our loved ones... Socialising and the entertainment in life that keep us human are hard to come by. Lockdown is the norm. Creativity is now inspired from memory rather than the inspiration of living heady moments in real time. It's hard to write when your heart isn't in it and every day is "groundhog day". My new release "Oh So Mellow (What A Good Day)" was written pre lockdown. Little did I know that the words would take on new meaning with words of optimism as the pandemic ensued. To all of the creatives out there who are struggling through these restricted times. Hang on in there. I wish you success and achievement as the world eventually returns to normal as it inevitably will. When the creative flow is not earthbound by the limits placed on it by society and health considerations and we all get the chance to experience joy once more.
Like most others in these challenging times, where gatherings are frowned upon and we are kept detached from our loved ones... Socialising and the entertainment in life that keep us human are hard to come by. Lockdown is the norm. Creativity is now inspired from memory rather than the inspiration of living heady moments in real time. It's hard to write when your heart isn't in it and every day is "groundhog day". My new release "Oh So Mellow (What A Good Day)" was written pre lockdown. Little did I know that the words would take on new meaning with words of optimism as the pandemic ensued. To all of the creatives out there who are struggling through these restricted times. Hang on in there. I wish you success and achievement as the world eventually returns to normal as it inevitably will. When the creative flow is not earthbound by the limits placed on it by society and health considerations and we all get the chance to experience joy once more.
Canadian Singer-Songwriter Ali Hugo’s love for country music is no secrete. First, there’s the country-oriented tune “You’ll find love” with its thumping banjo from Hugo’s Time Machine EP. To help promote the release of that single on country radio in 2018 in North America, Hugo supported the song by publishing a short story also titled “You’ll find love.” That strategy worked, and the music was a hit, especially in Oklahoma, USA. Next came “Trust in Allah,” one of the singles from Hugo’s album “Hope for the Meek.” “Trust in Allah” is an Islamic Qasida in the genre of Country Music and not what you would expect to hear on your Anghami music app in the Middle East. However, fans from Mauritania in North Africa to the Persian Gulf shores responded positively to that song’s country music vibes. In his latest release, “Easy to Say, Hard to Do,” which has already generated a strong buzz in Alabama (the latest of the North American states and provinces to be part of Ali Hugo’s fan base), Hugo is promoting his songwriting efforts, rather than promoting himself as a country singer. Before the song’s release, Hugo published a TikTok video showing-off his country vocal abilities by covering Loggins & Messina’s “Watching the river run.” With “Easy to Say, Hard to Do,” “ I’m trying to tell the folks in the country music business that this is a great song in the style of 70’s country music, and I’m available for business as a country songwriter” says Hugo. Hugo is not oblivious to critics who question, “who is this guy who comes out of nowhere and thinks he can make music which has a long line of tradition held up by the likes of Alan Jackson, Kenny Chesney, Randy Travis, Reba McIntyre & Paul Brandt to name but a few? But the reality on the ground remains that country music has gone Global. Suppose the North American artists are not interested in the international market and prefer to view country music as a national treasure, n that case, one can’t blame artists with a global following like Ali Hugo who wants to carry the torch of country music Globally one song at a time. “I’m doing the songs which I think my fans would love, and so far, fans both in North America and Globally love the new music,” says Hugo. Hugo is back in the studio working on Afrodisiac, his upcoming Swahili language EP.
Join in on the worldwide adventures of Traveler. For many years now, Scott Jeffers has traveled the world to gather inspiration for the Traveler project. https://scottjefferstraveler.com/travel-blog/
“We’re On Fire In Georgia” is a powerful anthem that will surely resonate amongst Georgia residents. Outlining the political controversy over the upcoming senate election in Georgia, Lynne Revo-Cohen, of I Will Productions sends a message to the GOP and people of the United States. Through story-telling and a fabulous and motivating music video, Lynne Revo-Cohen is fully aware of the impact music can have on our society. With everything that went on politically in 2020 -- the American people are tired of not being heard. Lynne Revo-Cohenn perfectly captures the message of the importance of WHO to vote for and WHAT they stand for. With powerful quotes streamlining in the background, and images from various protests for human rights, this video (and political campaign) truly represents any marginalized people. Both the music video and soundtrack were composed for Jon Osoff and Raphael Warnock in the Georgia Senate Runoff race. This song has successfully turned controversial and touchy topics into a catchy anthem. Revo-Cohen has written music for the Obama campaign, and the Women’s March in 2017 and both Clinton campaigns. Her passion and dedication for social awareness and change has influenced these and various campaigns, but most importantly, the people of Georgia must receive her call to action. Listen to Lynne Revo-Cohen, understand the video, and get out there and VOTE! Watch and listen here: https://youtu.be/4t3xmoRzfag
This is to wish everyone a happy festive season, wherever you are, whatever you are doing, and in spite of the coronavirus. The Winter Solstice in the Northern Hemisphere is behind us and we can look forward to the Spring. Meanwhile, enjoy precious time with your loved ones, stay well, and smile...most of all, smile. Peace John
The Brooklyn based, classic rock driven band R Train is back with a fresh take on “Dear Mr. Fantasy” by Steve Winwood and Traffic. R Train blends hair rock sound with arena rock energy to spin new life into an age old classic. In fact, you might mistake this cover for an original — filled with supernatural guitars, powerful drums, and funky vocals, R Train’s new version feels nostalgic in all the right places, yet entirely modern. R Train consists of vocalist/guitarist Jeffrey Black, drummer/vocalist Mike Annese, and bassist/harmony Denny Lee. The band has been playing together since 2019, but their long careers in the industry shine through their music. They released their single “Take a Ride” last month alongside a virtual livestream show benefiting The National Fallen Firefighters’ Association. “Dear Mr. Fantasy” similarly drops hand in hand with a music video, a fun homage to Mr. Fantasy who has the power to “distract us from darkness, gloom, and fear that presently exist” as the band members have remarked. Even through a glowing, blue light heavy screen, R Train’s latest releases manage to fill listeners with energy. Visit the band’s Spotify or YouTube page to accompany R Train on the epic journey that is their cover of “Dear Mr. Fantasy!” Watch and listen here! https://youtu.be/fF82_EUqpVY
After an almost 10 year hiatus, Ricksha Radio has returned with their second single in the span of only a few months. With it’s rockstar synth and acoustic guitar riffs, Bob Dimick was able to channel an early 90’s vibe that’s been missing from today’s radio hits. According to Dimick, “‘Magic Of The Moment’ is about knowing - when it is actually happening - that we are experiencing one of those beautiful, fleeting, magical moments in life that we will never forget. For no particular reason, we all look back on times and places that only lasted for an instant yet they are indelibly etched in our memories.” This song truly serves as a reminder to live in the moment. “Magic of the Moment” is funky and fresh - yet there’s a comfortable familiarity about it (thanks electronic keyboard!). It’s upbeat and positive, and an excellent song to start your day to. We are excited about Ricksha Radio’s return to rock - and look forward to hearing more! Stream "Magic Of The Moment": https://open.spotify.com/track/09KlP5O7lEMjtk7O4TbkUG?si=dduauh4WToC3GpnCUtmrRg Find Ricksha Radio online: https://ricksharadio.com/ https://www.facebook.com/Ricksha-Radio-172169332827775 https://www.instagram.com/ricksharadio/ https://www.youtube.com/channel/UC45bh07leKiAnDAQLN955sw
VAVÁ is Los Angeles based, Brazilian-American singer-songwriter, guitarist, and composer, Vanessa Wheeler. Her 2018 release, “The Other Side” blended guitar-focused, progressive pop and rock music that garnered attention from record labels, led to tours with The Dear Hunter and The Family Crest, and shared stages with such Angeleno music illuminati as Lauren Ruth Ward, Adam Levy, Mason Stoops, Emily Elbert, and Dillan Witherow. Listen in here! https://open.spotify.com/track/09eKV6s40fHdi9xSPlSURj As a songwriter, Vanessa has been finding her voice in the pop idiom in recent success co-writing with The Voice’s Jackie Lipson on her song “Someday”. Similarly, upcoming releases like, “When the Lights Go Out” take a more earnest turn towards pop while incorporating her eclectic influences of Brazilian music, Black American music, and progressive rock. Her music has been called “genre-smashing” and “jaw-dropping” (Buzzbands LA), and “the offspring of musical genes taken from Sia, Florence, [and] St. Vincent” (Blurred Culture).
Amelia's Dream just released their 6th full-length release on November 27th, 2020 “Everybody's Got Something" featuring 14 original songs including the single “Hero “ which was released with a video in May 2020 as a Thank you to the front line workers in NYC. The video featured actual front line heroes in action. "Everybody's Got Something" the title song was performed live at the Apollo theatre a few weeks after it was written late last year but never recorded until now. Most feedback from fans has been how healing “ Everybody's Got Something “ has been so we felt it was important to record this and share this with the world now. Especially now. Listen in here! https://open.spotify.com/album/0LMgedqnY58Q1les2KNlgV Amelia's Dream is a duo based in New York City. Amelia's Dream consists of songwriter/Singer Amelia S. Gewirtz & musician/producer/songwriter Harold Stephan. Their original music has been featured on multiple TV shows and movies including Wishmaster 4 ("Garden") Dog the Bounty Hunter ("Broken") season 7, Disney In a Heartbeat ("Trust Your Gut"). "Ballerina" was chosen as the theme song for the web series Good n’Screwed now being shopped in 2020/2021 to transition to a TV series. In addition, their original music has been on various scripted shows on networks including CBS TV, ABC, MTV & Disney.
Eric Selby has been a session drummer for more than 20 years. He’s been named Blue411‘s Drum Thumper “Jimi” Award winner, been nominated for multiple WAMMIE awards, inducted into the Blues Hall of Fame, and has been featured in Modern Drummer for his approach and unique drumming perspective. He’s stepped out from behind the drums and we are all better for it. His vocals are slightly reminiscent of Trey Anastasio from Phish (in the best possible way) but the music is retro and gives us warm 80’s grooves with a little bit of Pink Floyd. We listened over and over and the music feels familiar and yet it’s hard to compare it to any one thing. About “Another Page’s” chorus Eric says: I practice meditation and appreciate the concept of how our lives flow within and without one another. No matter what happens: birth, work, happiness, heartache, death…everything just keeps flowing and moving. The chorus to “Another Page” tries to convey this perspective of: “It’s everything I think of, it floats around in time, just add another page…I like the idea of how our lives are like a script or a book and how we can just add pages as our lives evolve and revolve and, if we choose, we can burn pages, similar to a burning bowl ceremony. If you aren’t familiar with a burning bowl ceremony, it is a transformative ritual usually performed to release something that no longer serves you. I communicate that in the chorus with: “To the ones I’ve ever loved and the ones I wish I could, just add another page, the flame embraces wood.” My advice - just listen and then listen again. You won’t be disappointed Listen here: https://soundcloud.com/eric-selby-9647853/another-page/s-CeHHsrx1i89 Follow Eric here: https://ericselby.com/ https://www.instagram.com/ericselbymusic/ https://www.facebook.com/EricSelbyMusic/ https://twitter.com/ericselbymusic
The strategy of creating music inspired by a particular concept is increasingly becoming difficult to market. Does this mean the death of the music Album? Not necessarily. Through innovative music marketing, concept albums will continue to make an impact on listeners. Thus, each song of the album has to have a marketing strategy of its own. That strategy acts as a sub-strategy to the concept album’s overall marketing plan. Simultaneously, the rest of the album serves as a restrictive agent for the single not to digress away from the album concept by overshadowing other songs from the album — thus avoiding the result of a very successful single from an unsuccessful album. What is different today is the idea that a successful single will attract listeners to discover more music from the concept album containing that successful single. This idea is no longer sustainable in today’s music market. The challenges facing music albums today are the speedy high levels of music consumption, the diversity of music released both independently and by majors labels, and the reality that everyone and their grandmother want to be a famous sensational music star. Add to all of this the speed at which world events are taking place and music competing with other artforms and entertainment. All these make it challenging to sustain listeners’ interests in a particular music album for a long time. Maintaining recurring streams for an album is particularly difficult as streamers speedily move onto the next release list, for example, #newmusicfriday. As has been proven by many of today’s artists, Fordism and the assembly line approach to music production can help artists succeed in a market dominated by high-speed music consumption. That success is in the shape of increasing artist visibility and popularity. However, the nightmare begins when artists realize that fame and popularity do not equate to financial success. In the music business, financial success is in music sync opportunities and publishing. The recent releases of remastered tracks of Deluxe music compilation albums from many established musicians attest to the fact that profitability is in music albums in the long-run. For example, American singer Cyndi Lauper’s album “She’s So Unusual,” released in the ’80s, was rebranded and released as Cyndi Lauper She’s So Unusual A 30th Anniversary Celebration Deluxe Ed Signed CD Priced at around $149.99. The repackaging of such a product indicates that fans pay attention to details, and every bit of an artist’s memorabilia matters. UnitedMasters singer-songwriter/musician Ali Hugo is not one to walk away from the challenges of the modern music industry. Hugo started releasing singles from his successful spiritual pop-rock album “Hope For the Meek” in 2019. The album contains 12 songs written and produced by Ali Hugo. The experience of marketing an album with perseverance in a global music market where the music singles rule is a challenge. Still, Hugo took a multidimensional approach to release music in 2020. while wrapping up the hope for the meek project, Hugo wrote and produced music for his Christmas instrumental playlist, including tracks such as “Teleportation,” a song written after Hugo developed the formula for the macroeconomics of a wormhole [LARC=U= Diseconomies of scale]. Hugo also wrote and performed on his spoken word release titled “Despair.” By releasing singles in between promoting the Hope for the Meek album, Hugo managed to retain the audience’s interest with music unrelated to hope for the meek while sustaining listeners’ curiosity & attraction to the album’s content. At the same time, Hugo managed to attend his record labels music conference UnitedMasters #selectcon2 When asked about his music’s future, Hugo stated, “The bottom line is; I understand that profitability is in my music publishing and music sync opportunities. When I make business decisions related to adding new music to my catalogue, the basis of those decisions is what's best for the Ali Hugo estate in the long run? Today I know that what's best is having the right kind of music catalogue which can generate further profitability to the Ali Hugo estate in the form of the Ali Hugo Deluxe Music box planned for release in 2028.”
New album: Kasper Søeborg & Lars Bo Kujahn: WORD'N GLOBAL (Olafssongs OCD 068) Can now be ordered in Olafssong's Webshop, downloaded from iTunes - and heard on the streaming services. The CD contains the three previous singles "The Indifferent", "Rumi" and HighJazz "and 8 intensive instrumental tracks. Music inspired by Andalusian flamenco fire over Oriental arabesques to Scandinavian coolness. It is instrumental music with both lyrical meditative and energetic explosive moments. A style that Søeborg & Kujahn with a twinkle in the eye calls: Scandaluzian Fusion. Music by Kasper Søeborg & Lars Bo Kujahn. The concept is instrumental music composed and played inspired by poems from Rumi (Jalāl ad-Dīn Rūmī, 1207-1273) and more than 1000 years old Chinese poems. Kasper Søeborg: Spanish guitar - and Gibson Les Paul on a single track Lars Bo Kujahn: Qanoon and percussive effects Nantha Kumar: Tabla Shashank Subramanyam: Indian bamboo flute Chris Poole: Flute Recorded, mixed and mastered in Cyborg Studio, Copenhagen, by Kasper Søeborg Produced by Kasper Søeborg & Lars Bo Kujahn Executive producer: Finn Olafsson Cover cover photo: Shazia Khan - other photos by Kasper Søeborg Cover layout: Torsten Olafsson Musical effects by Lars Bo Kujahn & Kasper Søeborg Produced with support from KODA's Cultural Resources.
In the beginning of this year we received a call from Skuodas district municipality with a proposal to create something for our native region. Donatas and I agreed with a passion and today we want to share with you the result! We warmly hope that this video will catch your interest to visit our region and it’s unique locations! I want to thank director Airidas Janušauskas and his team Turbo for creating this video! I also want to express my gratitude to Skuodas district municipality and their trust in our vision! Donatas Petreikis - kompozitorius / composer Airidas Janušauskas - director (Video agency TURBO http://turbo.video) Arturas Pugaciauskas - sound engineer & sound design Skuodo rajono savivaldybė Video clip - https://youtu.be/XtzOQiELG8w Web: https://www.sauliuspetreikis.com http://www.ltinstrumentai.lt https://www.paypal.me/sauliuspetreikis https://www.patreon.com/sauliuspetreikis
Blended acoustic and electronic instrumental music combining sustained melodic progressive themes and lots of acoustic textures that build and strengthen, using cello, hand percussion, keyboards, guitars and various interesting gizmos. I particularly appreciate the special Norwegian melancholy that stalks the background in places. In the ambient electronic universe, this newest album from the Green Isac Orchestra invokes to my ears a bit of the progressive rock traditions, but without any vocals or virtuoso power-play. I hear actual melodies and tempos, rich acoustic instrumentation mixed with electronics, and even some propulsive crimson riffs at times, all the while residing warmly in the cerebral realm of soothing ambient meditative instrumentals. The album is available from Spotted Peccary Music in LP vinyl format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats. All links: https://orcd.co/b-a-r b a r was recorded and mixed at Frydenlund Studio, Oslo, Norway, where it was mastered by Lunds Lyd, with cover art by Nils Olav Bøe, who did the previous Green Isac Orchestra album cover illustration. You will hear five musicians lending their skills, secrets, and dreams to create together an elegant and intricate instrumental orchestral tour de force. The orchestra includes Jo Wang playing piano, therevox, mellotron, organ, and synths; Tov Ramstad playing cello and electric cello; Morten Lund playing electric guitar, lapsteel, electronics, baritone guitar, and gizmotron; Frode Larsen playing percussion, mallets, and grand cassa; and Andreas Eriksen playing drums, percussion, synth bass, programming and arpeggiations. The album title b a r is a word with a lot of different meanings, variously: a long rod used as an obstruction, for fastening, or as a weapon; a counter where alcoholic drinks are served; a deposit composed of sand, silt, or pebbles in a river; a candy bar; to prevent someone from doing something or from going somewhere; a stripe with colors; a term for the legal profession; a line through a letter; a punctuation symbol; as well as specific nouns, family names and geographical designations. The album begins with some moments of power on the first song and settles into a calm meditative groove with a few climactic episodes blended in, creating some interesting dynamic tensions in the mix. “Green Isac Orchestra is the extension of the duo Green Isac,” Lund explains. “It was put together in order to play live versions of Green Isac material, but soon the band started to make new music. Minimalist and ambient were the core ideas in the beginning, but on b a r there are several hints to prog.” The album cover art is an image created by the Norwegian artist Nils Olav Bøe (http://www.omniweb.no/nob/), his imagery is sometimes of constructed urban and industrial landscapes, atmospheric and dreamlike miniature tableaus, often warping perceptions of dimensions and distances. "We feel there is a relation between Nils Olav Bøe's artistic signature and our musical expression. The naked minimalism in his art suits us well." As a duo, Green Isac have always been known for the fresh and exciting recordings they created in the studio going all the way back to 1990. Now that the lineup has expanded to a quintet, the project has transformed into a living organism where the unmistakable Green Isac sound is developed and arranged with the musicians working together in a live setting, spontaneously crafting and refining their musical ideas through a process of realtime collaboration. “Typically a small theme, rhythm, or soundscape is presented as a start point, and then the arrangements are made in rehearsals until we feel we are ready for recording.” says Eriksen. “It has been quite refreshing working together as a group in this way, and we have really been focused on listening and responding to each other. Hopefully this reflects in the music and makes it more alive.” The music's complexity of character brings to the mind's ear progressive themes drawn from whole cultural experiences brought together respectfully, without fear or prejudice, creating an ear-opening warm resonance illuminating the mysterious, the intuitive, and the passionate, sometimes integrating sampled and found sounds, with electronic music techniques, while showing a preferred mixture of electronic and acoustic instruments over pure electronics. When asked, GIO describes their inspirational starting point as containing "a mixture of minimalism (Steve Reich, Philip Glass) and ambient (Brian Eno, Jon Hassell)... The palette has of course expanded over the years, with rhythms being equally important as the ambient aspect. The last records also have several nods to classic prog rock expressions." Inspiration can come in many forms. Kristianstad (Norway) is a summer getaway that has family attractions and untouched nature on land and water. Punkt International Music Festival, or Punktfestivalen (https://www.punktfestival.no/), is a music festival that has been arranged every year in Kristiansand since 2005. "We have attended the Punkt Festival in Kristiansand for several years. This is a small, alternative festival dedicated to electronic/improvised music, and has been a great source of inspiration. It is always inspiring playing live for a dedicated audience that is open minded for such musical direction GIO represents." One version of the GIO odyssey begins in Norway, with the label Origo Sound, an independent record label formed in 1990 by Harald Lervik. The first albums released that year were from Erik Wøllo, titled Images of Light, and Green Isac's Strings & Pottery, which were soon followed by more Norwegian artists including Geir Jenssen (Biosphere), Sverre Knut Johansen, Karsten Brustad, Langsomt Mot Nord, Eyeman Reel, and Neural Network. In 2007, Planet Origo came about, and in 2013 Origo was re-established. Let's go back further in order to set the stage for where we are now. In 1978, along came an album called Music for 18 Musicians by Steve Reich; in 1980 came Fourth World, Vol. 1: Possible Musics by Jon Hassell; and in February of 1981 an album was released that really changed the world, My Life in the Bush of Ghosts by Brian Eno–David Byrne. All of this set the course that led to the birth of the various Green Isac projects. In Norway in the 1990s there was plenty of electronic music happening, with adventuresome collaborations and musicians moving between projects from time to time, as tends to happen in any exploding musical scene. There was a strong influence from a little settlement located way up above the arctic circle, in Tromsø, Norway. Mostly Oslo is the place to be. Some names to pay attention to are Bel Canto (Geir Jenssen: synthesizer, programming; Nils Johansen: synthesizer, violin, bass guitar, guitar; and vocalist Anneli Drecker), Erik Wøllo and Sverre Knut Johansen. "We were directed to Origo from another company in this segment. Green Isac and Erik Wøllo were the first two releases on the label in 1990, followed by several releases of Biosphere. When Geir Jenssen quit the ‘arctic pop’-act Bel Canto to start Biosphere, he was replaced by (future) GIO´s drummer/percussionist Andreas Eriksen. Bel Canto toured extensively worldwide during the ‘90s." Ethnic electronica (aka ethnotronica, ethno electronica or ethno techno) is where artists combine elements of electronic and world music. Folktronica is a genre of music utilizing elements of folk music and electronica, often featuring stringed, or any type of acoustic instruments. "We had some time ago a project called Etnotronica, a series of concerts where we invited guest musicians to perform with us. One of these performances has later been released as GIO-tracks («Thon» from Green Isac Orchestra). We definitely look forward to performing live on stage again." Let us return to the notion of world music, where there is a blending between the ancient and the current, foreign and contemporary, and pottery with liquid soundscapes to create a new melodic richness. "Andreas and Frode have traveled several times to West-Africa to study traditional drumming and rhythms. We have all listened to folk music from all over the world for inspiration different from the typical western expressions. It is important for us to blend these influences with our own musical ideas without copying them directly." When asked for a definition of "music" the discussion turned to the German philosopher Arthur Schoppenhauer (1788 – 1860), "Music as a human form of expression is a unique phenomenon in the world, a phenomenon where one encounters something that cannot be replaced by anything else." Schoppenhauer deemed music a timeless, universal language comprehended everywhere, that can imbue global enthusiasm, if in possession of a significant melody. Many would argue that this applies to any artistic expression, but until abstract painting emerged in the early twentieth century, music was the only art that unfolded freely in its own purely artistic material that served no other purpose than music. He was among the first Western philosophers to contemplate Indian asceticism, denial of the self, and the notion of the world-as-appearance. Schopenhauer is famous for his influence on many artists and philosophers, providing for some a spiritual world and a new awareness of happiness. Next I asked GIO for a definition of listening. "Listening is a very central aspect of music making and especially during improvisation. It is as important as the playing itself." Improvisation is musical extemporization in the moment, traditionally without planning or preparation but in the Ambient world, there is often a vague plan, places where musical signatures will change, places where special textures are deployed. In a group setting this is particularly interesting because there is a wonderful tension between the plan and the spirit of surprise or discovery. In the Jazz tradition there are long established patterns, when to take a solo, when to return to the base theme or groove. It's all about the results, how it sounds for the listener, but sometimes it is about discovering new and unexpected things, for the musicians, and the scientists. "You could say that all our music is improvised since we never write anything down. However, we use a lot of time on arrangements. The approach is a little bit different between Green Isac and Green Isac Orchestra. The duo material is mostly studiowork with a lot of overdubs, while the 5 piece GIO is rehearsed and arranged by the band and then recorded with all members playing in the studio. There are of course overdubs afterwards, but the core arrangements are recorded live in the studio." "We have had a recording studio for many years, and most of the ideas are developed there. Our studio is downtown Oslo, the capital of Norway. The inspiration for us here is more the sounds and noises from the city life, rather than mountaintops and sunsets. Living in a small country in Europe, we are heavily influenced by Anglo-American culture." On the first track, bowed strings and tapped cymbals with exotic electronic spices make way for a journey into a somewhat dark wilderness landscape with primal geologic eruptions, a plethora of twists and turns into many interesting dimensions. This is probably the album's most energetic track, "Volcanic" (7:47), a vast epic landscape that constantly morphs into a series of cycles, a glowing orange bubbling and simmering lava flow that suddenly bursts into a powerful crimson eruptions and then returns to the quiet lava flow. Quietly emerging from darkness, slowly building patterns and details, featuring layered instruments, mainly piano and cello, peppered with acoustic percussion and keeping a meditative mood that slides into a beat, "Le Grand Sportif" (7:05) contains atmospheric displays of group interplay moving fluidly between musical worlds. No showy heroics or athletic power stunts as the title might somehow infer, this is a complicated uniquely magical marriage of the traditional to modern organic electronica, with incorporated elements drawn from classical, jazz, and world music. "With Hat" (3:25) is a portrait of a subject keeping still and thinking about many things, the subtle facial expressions keep shifting while the subject appears to stay perfectly still. This is a delightfully understated picture of a person posing and allowing the music to illustrate moments of expanded interior mental and spiritual awareness and power, while the tempo is majestically slow and dignified. Dawn breaks, I hear the cello embraced by intricate guitar layers and haunted by a changing range of pleasing surprises. A groove is established and then tweaked ever so slightly every so many measures, so that gradual changes add up to dramatic ones. "Don Progini" (7:03) ends with a burst of energy mixing of layers with distinctly foreshadowed build-up and release. The cycling theme weaves interpretations of a single theme above a steady rhythm, with a free-floating feeling that tends to find a different meaning everywhere it lands. Oneiric is an adjective that describes things related to dreams and the fifth track has to me a nocturnal, spacey, dark and oneiric, perhaps an even more melancholic feeling. While showing respect for the old traditions, it is also willing to think along new lines. The title is "Aarwaaken" (6:10), which might translate from Dutch for "to watch." The instrumental floats free, like a planchette moving over a Ouija board guided by many fingers, where everyone watches the pointer float in various directions but no one is quite sure how it gets there or what is doing the pushing. Darker, with a beat, visited by turns and layers, yes, this one is my favorite in this collection of some unusually fantastic songs. The closer for the album is a second portrait of a subject, but this one is not standing still, now we are walking at a brisk tempo, enjoying a new morning, luxuriating in a sound that doesn’t tell you what to feel. "Without Hat" (5:50) mixes layers with a distinctly foreshadowed build-up and release, innovative, eclectic elements, large-scale experimentation, and the use of non-standard and unconventional sounds, instruments, song structures, playing styles, repetitive circular rhythms, ornamentation, the use of acoustic stringed patterns, the sense of beatific endurance, electronic treatments, sound manipulation and minimal hypnotic motifs. And then it ends abruptly. The original duo known as Green Isac began with percussionist Andreas Eriksen and multi-instrumentalist Morten Lund, creating a changing sound that is always exploring electronics and technology blended with world music influences. On the Origo Sound label are their first two albums, Strings & Pottery (1991) where they began creating electronics and rhythms fusing bowed strings and pottery with vintage synths into a delightful ethnic stew, followed by Happy Endings (1997) an earthy blend of exotic strings and hand percussion. On the Spotted Peccary label their releases include Groundrush (2001), trance-dance ethno new age grooves, Etnotronica (2004), a world music flavored electronic dance masterpiece, Passengers (2014) has an exotic trancelike feeling, and their new sound, Green Isac Orchestra (2015), where the duo expanded to a five-piece ensemble, five people playing together and recording in the same room make the listening experience more alive, exhibiting fusions of styles, approaches and genres, involving a continuous move between formalism and eclecticism, assimilating some forms of almost classical music into the blend of ethnic and immersive atmospheres. Ambient electronic means many things, much of the time the music is for listening, not dancing and there is no conventional melody or beat, or perhaps the cohesion is more about texture and exploration. Green Isac is known for fearlessly exploring rhythms and melodies from all around the globe, some dancing is allowed, some meditative trance music is included, on this new album there are feelings tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music, performance and some harmonic language that was imported from jazz and 19th-century classical music. On b a r you will enjoy the rudimentary serialism and the instruments borrowed from world music and early music blended with new electronic musical instruments and technologies that transform the musicians' ideas of what was possible and the audiences' ideas of what is acceptable in music. Tracklist: 01 Volcanic 7:47 02 Le Grand Sportif 7:05 03 With Hat 3:25 04 Don Progini 7:03 05 Aarwaaken 6:10 06 Without Hat 5:50 About Spotted Peccary Music: Portland-based Spotted Peccary Music is North America’s finest independent record label with a focus on deep, vast and introspective soundscapes. For over three decades, the artists of Spotted Peccary have been on a mission to develop, produce, publish and release ultra-high-quality, deep-listening experiences that engage the listener and exceed expectations. Every release is carefully prepared in a variety of high quality formats from MP3 to high-res studio masters. Explore more than 165 titles and 45 artists at www.SpottedPeccary.com and www.AmbientElectronic.com. Links: Green Isac Orchestra. https://www.greenisacorchestra.no/ Spotted Peccary Album page: https://spottedpeccary.com/shop/bar/ Album Unboxing Video: https://www.youtube.com/watch?v=aFyZ6qzyctI Spotted Peccary Artist page: https://spottedpeccary.com/artists/green-isac/ Bandcamp: https://ambientelectronic.bandcamp.com/ Instagram: https://www.instagram.com/spottedpeccary/ Spotify: https://open.spotify.com/user/spottedpeccary FOOTLINKS Spotted Peccary Music https://spottedpeccary.com/ Origio Sound https://myspace.com/origosound Steve Reich https://www.stevereich.com/ Phillip Glass https://philipglass.com/ Brian Eno https://brian-eno.net/ Jon Hassell https://jonhassell.com/ Punkt Festival https://www.punktfestival.no/ Erik Wøllo https://www.youtube.com/channel/UCwVTavNxGX0qkgwRrRjdCGw Sverre Knut Johansen https://www.youtube.com/user/SverrekJohansen Biosphere https://www.youtube.com/watch?v=0ZIwR2BzL0Y Bel Canto https://www.youtube.com/watch?v=i5Njw0ovIbY Music for 18 Musicians https://www.youtube.com/watch?v=ZXJWO2FQ16c Fourth World, Vol. 1: Possible Musics https://www.youtube.com/watch?v=cFig-OiIwDo Karlheinz Stockhausen http://www.karlheinzstockhausen.org/ La Monte Young https://www.melafoundation.org/lmy.htm My Life in the Bush of Ghosts https://www.youtube.com/watch?v=fMTi73h5B_U&list=OLAK5uy_mOoJHF6_qCl1To4Wz8qnPg9YuG37u1zRo Hybrid https://www.youtube.com/watch?v=5ZI2GLhEo7U Arnold Schoppenhauer https://iep.utm.edu/schopenh/ Nils Olav Bøe https://artpil.com/nils-olav-boe/ https://www.artland.com/artists/nils-olav-boe-8c26ec #AmbientElectronic #ElectronicMusic #Music #NorwegianMusic #GreenIsacOrchestra #SpottedPeccaryMusic #bar #InstrumentalMusic #Percussion #WorldMusic
Maintaining mixed origins or adapting to a new culture is widely a daunting task to execute, an uphill battle to overcome. For a South Asian American, the level of difficulties can be even greater. Barely any character in the American TV shows, movies, or books portrays the desi appearance or culture. This predicament, invoking fear of becoming estranged, would ultimately influence the South Asian American minors to believe what they see on TV or read in books is the only “accepted” way to present themselves. On The Last American, Brooklyn-based Ali Aslam reflects a similar collage of tales of his early years when he discovered himself in the middle of his family’s Pakistani upbringing and his peers’ American lifestyles. The indie folk-rocker’s self-released debut came on October 30. Listen in here! https://open.spotify.com/album/1WHPw2Dqq4wfioyifKGc4V Throughout the 12 tracks, Aslam has assured his profound insights into indie folk, rock, and even American pop music. “Supersonic folk,” the tag he uses, aptly plants the sonic image of his bucolic mixture of soothing melodies, soft guitars, and calm vocals. The Last American is somewhat a guitar-driven album, mostly acoustic, but often harmoniously jangly. The record does not see the New Yorker geeking out about instruments and experimenting with unusual tones, but the indie singer-songwriter knows how to captivate the listeners with his guitars by sounding celestially gentle and grippingly substantial. His simplistic rhythms on low strings and atmospheric melodies on high supply the album with refined fuel. The intertwining of thematical and diverse musical dynamisms adorn the album with a compelling aura that is genuinely novelistic in its own essence. In fact, the instilled emotional vibrancies of the album transmit the feeling that the child of an immigrant upholds after not belonging to the culture of the American peers. Aslam, however, has never lacked scope and ambition. He optimistically believes that we are ultimately responsible for the world we create. Thus, he challenges the children of the immigrants to dream bigger by representing themselves the way they are. The Last American is the result of Aslam’s creative virtue, personal struggles, and harvested dreams. His pared-down approach gradually evolved into something impressive enough, and this will surely appease the indie folk enthusiasts.
Singer-songwriter Gedalya reflects on holiday season with new single, The Lesson of the Flame Dec. 1, 2020 (New York) – Just in time for Hanukkah, Folk-rock singer-songwriter Gedalya has released “The Lesson of the Flame,” a musical reflection of the need for positive spirituality during difficult situations. “Finding ways to get through hardship is central to religion,” Gedalya said. “And I wanted this song to reflect the powerful combination of faith and positivity. “It’s my first time writing a holiday song, or even writing a song directly about Judaism, for that matter,” he said. “Even though I wrote the song with the holiday season in mind, it’s about more than just the annual celebration. I wanted to convey the power in continuity and history. This Hanukkah many of us are experiencing a year of tragedies, but by learning from tradition and remaining faithful we can find better times. I tried to reflect that in ‘The Lesson of the Flame.’” The song speaks directly to the power of positivity, especially during times of tribulation. “Finding yourself can be a challenge, especially when times are difficult,” Gedalya said. “This year especially I have seen so many struggle with what is happening in the world. I wanted to make sure they heard a positive message for the holiday, but also I wanted anyone that hears the song to feel – deep down – that their situation can also get better. Now is the time to look inward to find the strength to make it to those better times.” While the song reflects Gedalya’s faith, he said its spiritual message is universal. “I wanted ‘The Lesson of the Flame’ to speak directly to the listener’s soul,” he said. “But the message of the song is not inherent to a particular faith; rather it speaks to a state of being. It’s a frame of mind that brings light to the dark and the blessings of that kind of a life are tremendous.”
A perfect combination of the sweet vocals of Owl City, the acoustic trend of Taylor Swift’s “Red” album, and everyone’s favorite alt rock band, comes the newest addition to our November 2020 Playlist, “Take Time” by Miami based band, The Collective Bus. The band coined the name after the Argentinian double- decker bus, The Colectivo. Made up of Daniel Correa, Aldo X, and David Hadalgo, the band brings together that early 2010s soft rock/ alternative indie rock sound we all used to listen to on the beach, in the car with our parents, or on a bike ride with our iPod Nanos. “Take Time” is the band’s latest single, relating to a gentle connectivity story, between two people, one begging the other to slow down, drop their walls and insecurities down, and face the connection between them. “I see you’ve been silently hurting, you could know that I feel the same.” This song is a feeling of going through loneliness together. “Let us not play pretend, that we’re blind to this.” Daniel leaves the interpretation up to the listeners, about whether or not this track is a love story, or a story about two friends, going through the loneliness of life together. We absolutely love the chill, California-esque vibe of this band, and can’t wait to hear more from The Collective Bus. As stated in their IG bio, the band is “professionally sad, manic, and stoic,” and aren’t we all? Listen to "Take Time" here: https://open.spotify.com/track/3GxQeql35vsESYan1YTSc4?si=p59vXAp3ROeMS6H3hnCbsQ Connect with The Collective Bus: https://www.danielcorrea.com/ https://www.facebook.com/thecollectivebus/ https://www.youtube.com/channel/UCndyexrw_jbdmKDAzCdzl9g https://www.instagram.com/collectivebus/ https://twitter.com/collectivebus
This has been possibly the most anxiety-ridden week in American history, and music that really SEES what I’m going through is always the best painkiller. Luckily, we found the PERFECT song and video for Election week called “Over the Line”. It’s from an up-and-coming indie band in Charleston, SC called Honeypot (I’m not sure either). Honeypot is basically Frank Hartman, a lawyer-by-day, guitarist-by-night who worships at the altars of Rush and Hendrix. Honeypot is also heavily influenced by prog and grunge legends like Tool, Audioslave, and Alice in Chains. What makes them unique is their unapologetic political commentary that’s ripe for the moment; clearly, they’re not afraid to “go there”. The band had previously released one full-length album called “Suicide Letters” (on Spotify now), but they’re really coming into public view with their new project. “Over the Line” is the first single; its name comes from The Big Lebowski. Frank explains, “In The Big Lebowski, Walter is upset because no one gives a sh*t about the rules anymore. I’m upset because no one gives a sh*t about the rule of law, the Constitution, or the fragile democratic republic we so tenuously hold onto as a country. As I speak, people are voting. On the other side, who knows?” Accompanying “Over the Line” is a searing music video consisting of spliced footage of police violence, Black Lives Matter protests, and other chaos that ensued in 2020. It shows that although Americans are strictly divided down the aisle right now, the differences between parties are ultimately an illusion, designed by a more powerful force to distract people. The song asks people to care for themselves and each other while not falling prey to the mind games. On-point advice, if you ask me. Can’t wait to hear more from these folks! Listen to "Over The Line" here: https://open.spotify.com/track/3Rhd5FDrfpuniSUNV0wC1B?si=O1Hz2lcYTGGVIH2ItfknUA Watch the video here: https://www.youtube.com/watch?v=CINEafCsiIE Connect with Honeypot: https://honeypotband.com/ https://www.facebook.com/honeypotband1 https://instagram.com/honeypotband1 https://twitter.com/honeypotband1
It's frustrating for us all not to be able to get out there and play live in front of an audience, but 'Online Live' has made musicians realise they can reach a wider audience when true live finally returns. I have struggled to enjoy many of the live streams because the audio quality has been so poor, so my choice is to play live, record the performance, and upload it as a YouTube Premiere. So I will perform a 60 minute gig from 6pm GMT/UTC on Wednesday 9th December from my attic studio. Look out for the premiere at https://www.youtube.com/channel/UCR2tL6XKACog69J69M30g7w/videos?view_as=subscriber and set a reminder if you are able to join me. Take care everyone and keep creating. We will see better times! Peace John
Winter Holidays are a great time to share a joyful season with friends and family. Sounds of superb, joyous music should surround festive times. Belief Records, with the support of UnitedMasters, is thrilled to curate the Ali Hugo Instrumental Playlist. The list will be your soundtrack to a memorable winter holiday. Whether shopping for presents, signing greeting cards or sharing a meal with loved ones, the Ali Hugo Instrumental playlist is the right choice of music for your winter holidays. Link to Playlist: https://unitedmasters.com/m/happyholidays
We are particularly excited about this featured artist because of his cool, charismatic, and confident demeanor. Reigning from Boston, Munk Duane is a man of many talents, perfecting the craft of songwriting, song production, film composition, and MUCH more. Munk’s music comes from his many respected influences, like Marvin Gaye, Stevie Wonder, and Prince just to name a few. Munk is not a newbie to the music world, in fact he’s grown tremendously through the years, and that is extremely prevalent in his newest release, “Sweet Tooth”, that dropped on October 23rd. Not only is it fitting for the next holiday coming up, where we’ll all be indulging in our spookiest, sweet tooth. Munk’s track begins with the smoothest intro, some easy claps, and some psychedelic vibes, before his smooth and catchy vocals come into the track. The song is sexy, haunting, and sweet all in one record. “I get the feeling this will end bad.” This song plays with the flirty, dangerous feeling of chasing after something (or someone) you know you shouldn’t mess around with. We absolutely love the R&B inspired, smooth jazzy type of vibe that Munk has created with this track, and we cannot wait to hear more from him. Follow Munk On Socials: https://twitter.com/munkduane https://www.instagram.com/munkduane https://www.facebook.com/munkduane https://www.youtube.com/munkduane https://soundcloud.com/munkduane
For anyone whose relationship is struggling to withstand the confines of quarantine, Red Flower Lake understands. The indie-pop duo comprised of real-life husband and wife Abel and Rahimah Wright makes lush, romantic ambient-pop in the style of Mazzy Star or Cigarettes After Sex, and their new Three Truths EP is all about the struggle to keep love alive in a long-term commitment. The EP (which was released on all streaming platforms in September 2020) opens with "Heart is Breaking", a song Rahimah says is about feeling wrecked by how hard it is to be a partnership in parenting, wrecked by trying our very best and falling short, over and over again. Sounds like the definitive experience of being a family (even a chosen family) in quarantine to me. Not many songs speak to how often we can feel heartbroken even while in love - this one offered a refreshing truth. Musically, "Heart is Breaking" opens with an expansive, late 80's-inspired series of chords that suggested Cyndi Lauper might be on the way. Instead, Rahimah's sultry vocals stretch across the lower register in the dreamlike yet powerful manner of Cat Power; they're supported by an accumulating kaleidoscope of electronic sounds, layering to a climax as the song progresses. Red Flower Lake is based out of their home studio in Virginia, where they turn the agony and ecstasy of love and partnership into art. Maybe their romantic songs will be just what you and yours need to rekindle the spark at home. Listen in via: https://open.spotify.com/album/5PAtUjLT9tUcbBZz6wM0cy
"Live" Whatever happened to true 'live'? We all know it will be back one day and we can get out to the pubs and clubs, cafes and bars to see musicians at their work. For the moment we are all having to hold up our profiles virtually, and either live stream performances or uploaded recorded live shows. The interesting thing here is that 'Live Online' will continue when the pandemic finally leaves us. It has provided another string to every musician's bow. Having experimented with live streaming and being disappointed with its quality, my choice has been to play occasional live online shows, but always to record them first and upload them to a channel that I know will present them with good quality audio. The next one of these will be on Wednesday 9th December at 6pm GMT (Greenwich Mean Time), and will comprise an even mix of old and new songs. So why don't you set a reminder and join me for an hour? The YouTube link will follow at a later date so keep looking out for that. Pease and take care John
Honeypot’s new single, “Over The Line,” rolls in perfectly on the heels of the election. The band’s lead singer and guitarist, Frank Hartman, blends grunge rock of the 60s and 70s with modern day political commentary, calling for compromise between political parties and standing up to the system. “Over The Line” is a socially conscious version of progressive rock reminiscent of Rush or Pink Floyd. Frank explains that the inspiration for the song was “the deep divide we have as a country. There is a feeling of ‘us vs. them’ that should not be.” The single calls for listeners to put America over this division, and this message is perfectly backed by Honeypot’s striking music video. The video features imagery relating to so many of the issues highlighted in 2020, especially police violence and Black Lives Matter protests. The video demonstrates that, while these issues divide our nation, Americans are coming together to combat injustice, caring and supporting one another rather than succumbing to the system. It’s a well timed message accompanied by an amazing track from this accomplished rock group. Watch the video here! https://www.youtube.com/watch?v=CINEafCsiIE
Bassist, lyricist, and vocalist Eric Scott has recently released “Peace Bomb,” the title track to his forthcoming soul-infused, rock, funk album of the same name. In such a dark state of the world Eric has created an inspiring, positive, and uplifting single. Calling his new music “Modern Throwback Soul,” Washington, DC soul artist Eric Scott's music continues to evolve on his new single PEACE BOMB. Unafraid of a pop hook, and also of showing some respect for the body of 70's soul that has influenced him… “Peace Bomb” celebrates the joy, spirit, and soul of an era that reminds us that peace, love, and booty shakin' never go out of style. "We need a call to arms right now, and everybody needs to be on the same page. Instead of dropping a bomb that destroys everything, I'm trying to drop a bomb that spreads peace and love instead. That's much cooler and much more needed." says Eric. Eric has toured with B.B. King, Mavis Staples, Aaron Neville, REO Speedwagon, Pink Floyd’s Roger Waters, and award-winning blues/jazz artist Deanna Bogart. He’s written, produced, and released 5 solo albums, and he is a 15-time Wammie winner (WAMA - Washington Area Musicians Association). My favorite part of the track, in addition to Eric’s trained vocals, groovy drums and jazzy vibes, is the final chorus where Eric sings, “We’ve got to love each other” a few times over, a phrase that is said often, but is rarely acted out. Listen here: https://open.spotify.com/track/6AmuOstEk9L6cbjdbhALp0 Visit Eric Online: https://www.ericscottmusic.com https://www.instagram.com/ericscottmusic https://twitter.com/eric_j_s https://www.facebook.com/EricScottMusic
Sharing your music is about building and growing your fanbase. So, your music is already available in the rest of the world and not so many are following or listening to your music, or not as many as you would like. And China has been added to your current distribution service and you think this is enough. The truth is most distributors distribute to only a few of the mainstream services in China, putting your music under the competition of the top chart artists. You are owed every opportunity to grow your fanbase and get paid for it. What does China pay per stream, how much will I get from 1 million streams? The big picture: compare China and Spotify, representing the total global digital market. Like Spotify now with 92 world markets and 286 million listeners, China has 100’s of music services yet has over a billion listeners. When your music is played on Spotify the pay per stream varies greatly from country to country. Your one million Spotify streams will pay you over $8000 from Iceland or it will pay you $800 from Argentina. This is the same in China, the pay per stream varies greatly from service to service and from user to user. Your million streams can get you 10 times or more from one service to another. Distributing your music is about establishing your fanbase, especially in China. If you don’t have fans you won’t have returning paying listeners. So, do you want to get paid 10 times per stream or do you want 10 times the listeners? Which scenario gets you more fans and more opportunity for your music to get heard and listened to? You deserve the edge in this growing new market where artists are gaining traction and finding success with where they couldn’t elsewhere. Get your music to over 50 music services in China with Musicinfo to give you the advantage over the typical distribution services. Secure your music copyright and collect 100% of your royalties with one of their distribution packages. Musicinfo’s one-stop-shop gives you access to their distribution and promotion services enabling you to engage your audience though Chinese social media channels, video platforms and playlists. It is often possible for you to distribute to China with Musicinfo and still keep your music distributed to the rest of the world with your current distributor. Giving you the best opportunity to attract more fans. Join Musicinfo’s growing community of artists, get your music to China, establish your fanbase and get paid.
Keeping the spirit of rock n’ roll alive, The R Train’s explosive new single “Take a Ride” makes you want to stomp your feet, clap your hands, and take a much-needed break from the craziness of the world around us. The Brooklyn-based band made up of vocalist/guitarist Jeffrey Black, drummer/vocalist Mike Annese, and bassist Denny Lee is truly taking the new wave rock world by storm with their tracks that just keep coming. LISTEN IN HERE! https://open.spotify.com/track/5lX5WL2vbNGnNee20Nm9Nz Powerful electric guitar riffs drive this song with pounding drums that make all listeners want to stop what they’re doing and dance. “It is intended to make the listener feel as if they are having an adrenaline rush. We are trying to lift people's spirits by taking them on an exciting, fun, fulfilling musical ride,” says Annese. The song definitely delivers its promise, so put away your worrying and “Take a Ride” with The R Train!
NEW RECORDING! Tofu Roadkill is unique in my collection of originals as being the only song -- with music and lyrics -- that I have written. As the title implies, it is intended to be fun and crazed. The song was written in 1999. I could not bring myself to show it to anyone -- especially to my songwriter friends! So, the lead sheet stayed in my music files until Matthew Klein (AKA, Uncle Brother), a musician friend in Berkeley Springs, WV, took it under his wing for this 2020 project which he arranged, performed, and recorded. UB has a wonderful sense of humor, which I greatly enjoy. His style is a perfect match for this song. Please visit my Ethnocloud page and listen to the new track.
Divine life of Punarvasu is a country/folk album written by John Edwin with a unique sound created by fretless banjo and electric guitar. The lyrics often contains a spiritual theme and sometimes refers to astrological terms and Yoga philosofy. The albums eleven tracks are based on the sixth song ” Can I ever reach Moksha when I cannot reach my toe ” where the word Moksha ( sprirual enlightment ) is mentioned in the same phrase as the father of bluegrass Bill Monroe. The word Punarvasu is borrowed from the vedic astrology Nakshatra system and refers to the two brightest stars in the constellation of Gemini Castor and Pollux. It serves as an alternative name to Nirvana for the album`s headcharacter, questioner and Yogi : John Pigeonpose Edwin The music is performed by John Edwin and the Banjodasha Hillbillies which are : John Edwin alias Peter Danielsson – fivestring banjo, fretless banjo, vocals & acoustic guitar Kenneth Bakkelund – electric guitars Pedro Blom – Bass Jörgen Andersson – snaredrums The album is recorded October 2019 and April 2020 at Sensus studios in Östersund. Mixed by John Arveli Mastered by Nevo mastering. John Edwin and the Banjodasha Hillbillies is country/folk music from Jamtland county mixed up with storytelling from this sinful valley & divine poetry from Punarvasu. Release 7 Nov 2020 / Your devoted friend John
With their acclaimed ambient electronic music project Time Being, spacemusic maestros Phillip Wilkerson and Jourdan Laik have been exploring the expansive sonic realms of atmospheric soundscapes for the better part of a decade, becoming favorites on ambient, sleep, and study Spotify playlists. On their third album, An Ocean Of Time, the duo venture into over 70 minutes of deep-drifting, time-melting, soul-stirring bliss that hovers delicately at the fringes of darkness and light. The album releases today on Spotted Peccary Music in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats. See inside the album and sample the music in this unboxing video: https://youtu.be/beLliEy6J3c. The vast and immersive ambient soundworlds that unfold throughout An Ocean Of Time foster an introspective, deeply-serene state of mind well-suited for yoga and meditation. The album’s fathomless spaces evoke a sense of ageless infinity. The sublime combination of synthesizers, electronics, spatial effects, and subtle swarms of orchestral wonder coalesce into a boundless auditory expanse where time is forgotten. Hints of cello and violin drift upon an open sea of textural ambience, as occasionally pulsing electronics or melodic illusions come into focus, hold us in suspense, and gradually dissolving back into the void. With soundscapes as expansive as the mind will allow, Time Being musically ponder this question in an attempt to touch a perfect heart of awareness, presence, infinity, and the essence of being. The music invokes the question, “Are we in the cosmos or is the cosmos in us?” The sound of Time Being sometimes portrays forms in fog that offers suggestions without always simply resolving. To further illuminate what I hear on the album, I have reached out to both musicians to discuss their process and to bring their electronic art into a more crisp context. What you will read here are many short ideas that resemble a stream, flowing past bits of quartz and gold, containing bountiful plant life and an amazing range of small living creatures; life is raging all around, and every moment is magical, forming an interplay of the eternal, unchanging consciousness and the temporary, material world. The conversation begins with the topic of making music. Robin James: How would you describe your methods for inventing your sounds? Phillip Wilkerson: I’ve had a lifelong interest in the creative process and discovered that creativity is more of an opening to the experience rather than trying so hard to capture the experience. Opening to the creative process sets vibrations in motion that are expressed as sounds or words. Capturing the vibrations (recording sounds) is just a mechanical set up--a recorder, a pen, etc. Getting stuck in the mechanicals is easy to do and sometimes, even results in new forms of creativity. So balancing both aspects is necessary, but for me, the mechanics are always secondary. Jourdan Laik: Layers. You cannot sit down and create an intricate soundscape in one fell swoop no more than you can create a flower with just carbon. Robin: How did your parents prepare you for your journey? What do you remember about discovering music? How does that allow you to create now? Jourdan: I couldn’t have been more than 8. I was with my parents at a record shop. My mom asked me which I would like; she held out a few cassettes for me to choose. I picked one that was all black - I thought it looked cool. It was Mozart. We listened to it all the way back home. Once home I listened to it till bedtime. It wasn’t my first time hearing classical music. Maybe it was because the tape was mine but this was likely the first time I actually listened to music. I liked picking out all the instruments and following them up, down, in and out. I would even wave my hands around to the beat pretending I was a conductor. Phillip: Most recently, I’ve discovered that the music primarily creates itself and the mechanics take care of themselves. Music channels through me and gets recorded. I don’t always “make it happen” It often happens spontaneously and without intent. Again, it’s setting up creative opportunities and then letting whatever happens next happen. Jourdan: I want to make music and sounds that take people to a different place. Each composition means something to me personally - but I’m not interested in forcing you there. I want you to go where the music takes you. So as long as the music allows you to disconnect from where you are now, and go to a different place, then I have achieved my task as a composer. Phillip: My task as a composer is primarily to create music that listeners enjoy returning to again and again--not necessarily on repeat, but over a number of years, revisiting like an old friend. To create ambient music that is evergreen and timeless. I wouldn’t call composing a task, but rather an opportunity. Robin: What is music? Phillip: Music is setting vibrations in motion in the form of sound. Sound is primordial and is a two-way manifestation that we can all participate in--as sound creators and sound listeners--neither is merely passive. Jourdan: Everything is vibrating. The frequency of these vibrations define the different things we see. Humans love to experience beautiful things. When the vibrations are just right - they please us. Music is vibration organized into patterns and harmonies. But so is a flower. You can see a flower. But you can only really appreciate it when you look closer. Understanding everything about even one flower requires more than just a glance. Listening is the aural version of visual exploration. Robin: (to Phillip) What is listening? Phillip: Listening is Awareness, being aware of what is happening in the imminent moment. We can listen with our whole body to what is happening all around us and within us as a field of our immediate presence--locally, globally, and as a universal presence. And maybe simply because there is no definitive answer, it becomes apparent, if you ponder long enough, that life calls upon each of us, individually, to create a reality for ourselves and to take responsibility for creating an existence, within our sphere of influence, that is meaningful and beautiful. I think that might be what ‘waking up’ is really all about--taking personal responsibility for making our brief, fragile lives as beautiful and meaningful as we can. Jourdan: Our reality is now. Dreams are a part of that reality because we experience them. If we were to “wake up” to something else, the same questions would persist. There’s a lot of conjecture and speculation about what’s out, up, outside of here. I think that’s a result of people wanting to escape the many unfortunate realities that befall us in the now. The best way to be more awake is to love. Robin: What would you tell a youngster about getting ideas for composing and about the process of creating music? Phillip: Don’t follow anyone’s rules or try to imitate other artists. Discover your own processes and let the music make itself. Jourdan: Learn everything you can about music. Train your ears. Learn the rules so you know what to break and when. Learn the piano. You will wish you had these skills only a few years from now; and it won’t be long before you realize that you should’ve started earlier. Phillip: Life calls upon each of us, individually, to create a reality for ourselves and to take responsibility for creating an existence, within our sphere of influence, that is meaningful and beautiful. I think that might be what ‘waking up’ is really all about--taking personal responsibility for making our brief, fragile lives as beautiful and meaningful as we can. Meditation is just a way to access and open our inherent powers of Awareness into spontaneous Being and Presence. Robin: Are you able to bring music back from your nocturnal dreams? Jourdan: I can lucid dream and have full control over making music. I seem to have the ability to create almost anything I want. I can’t seem to bring anything back with me though. When I wake, it’s all gone - only the memory that I could do it remains. Phillip: Dreams are just another form (vibration) of Awareness. I would not make a distinction as to “where” music comes from. Recorded music is just an incident in Awareness that was captured. Jourdan: We can be surrounded by a lot of info all the time. You can soon feel like all things are known. Where we’re from and where we’re going. The fact is that we know so little. There’s so much to discover. Phillip: Life isn’t a passive process. It’s a creative opportunity. In many ways, I feel like I do live my dream, without being in an actual dream. My life is good. Which is not to say that I don’t have challenges. I just let whatever happens next happen and meet it with a welcoming attitude to see what unfolds. Robin: The music of Time Being allows listeners to consider many impossible things. When listening I find myself exploring strange new oceans and vast alien summits. What are the most beautiful places you have ever experienced music in? Jourdan: We don’t have any noteworthy mountains or seas in Wisconsin. But in the early summer, when it’s warm and the corn is still short - there are places where the vista goes on and on. With not a sound in the air - it is as tranquil as can be; you can float. Phillip: I live in the land of magnificent sunrises and sunsets, Florida, with vast skies and magnificent clouds. We don’t have mountainscapes in Florida, we have sunscapes and cloudscapes. I’m being inspired constantly, just looking out my window. Jourdan: Sometimes I want to be in a dark huge forest. Other times, someplace warm. I’d love a chance to photograph the upper midwest, Oregon etc. Robin: What would you like to share about yoga and meditation, and your personal methods for experiencing a good life? Jourdan: If you have a hard time with the kind of meditation where you’re alone with your thoughts, try meditation with music. Listen to it and try to visualize where your brain takes you. Don’t try to think about what the artist wants you to see - just let it happen. I have found that this is an incredibly easy way to quiet the mind. Robin: Time is "what a clock reads" or a certain number of repetitions of one or another standard cyclical event, the motion of the sun across the sky, the phases of the moon, the swing of a pendulum, the pulse of the surf on the shore, or the beat of a heart. What if our clocks were to Stop? Jourdan: We’d need to change the batteries in our clocks. Phillip: In a sense, the clocks can stop if you move your Awareness outside the paradigm of time and deeper into Awareness. Again, this is pretty close to a definition of meditation. Robin: What would you like explorers of the ever expanding universe of music to know about An Ocean of Time? Jourdan: Just to listen and go where it may lead. Phillip: The artwork for An Ocean of Time reflects the expansive, boundless, spaciousness that the music opens up for the listener. It also hints at that balance / interplay between dark / light and time / being. I don’t necessarily equate the word “ocean” with the actual body of water we call the ocean, but more like the “face of the deep” primordial ocean or void (although I really don’t prefer that word if we can “avoid” it). “An Ocean” is a play on “A Notion” as in the first and last title tracks. Time and Being first and last in titles to tracks 1 and 8. Time “seems” to Be endless (a notion). And Being (in the truest sense) is Timelessness. So we are Beings, experiencing “being” (awareness), in the infinite oceanic void of perceived Time, yet we’re always in this moment, in the now, where living and experiencing life really takes place. Sure, we have memories and expectations. They are just part of the play. All the titles of the tracks reflect these basic questions and themes: Awareness, presence, infinity, the essence of Being, timelessness--it’s all ultimately illusory, yet it is also fully and imminently experienced by our senses and our Presence in the eternal Now. Robin: Your new album is a moving mirage of strings and particles touched and reverberating, patterns form in the haze, this one might be called substance and that one might be called serendipity, life understood as life is lived. Thank you for all of your fantastic work and for sharing your perspectives on the creative way of life! Now let us turn to the music itself. A global ocean has existed in one form or another on Earth for eons, and the notion dates back to classical antiquity in the form of Oceanus. In the first track, the title track, "An Ocean of Time" (7:09) I hear a subtle sigh of surf under a night sky, gentle tones, with no repeating melody, from a fantastic ethereal piano, with a slight hint of strings shimmering for brief moments. Various objects pass through the stars never lingering. The sound portrays forms in fog that offer suggestions without resolving. Darkness within darkness, nearly revealing fragments of gradually emerging details in a wide open skyscape, "Drifting Form, Ineffable Void" (5:47). There are significant differences between the way things are perceived to exist and the way things really exist, the "now" and the "not now" are part of the music. A bridge crosses the Styx at Limbo. "Here. Now. Always." (6:51) considers the ever expanding present, depicted by colorful vapors and small thin clouds of desire. Form, and formlessness, the "present" is a relative concept different for observers in relative motion. The music invites us to muse in our beds about dreaming and multiple consciousnesses, death, collective memory, and the simultaneity of the constant presence of the "dreamer." When living consciousness becomes coherent, the behavior of random systems may change. Life is raging all around, and every moment is magical. Time as an illusion, a mirage of strings touched and reverberating, patterns form in the haze. "Infinite Cadence" (10:35) suggests that there could be a correct understanding of the relation of the self to the external world, but offers no actual proof. No matter, I just like the way it sounds. The next track speaks of liminal experiences, radical subjectivity, and the great moment, only to wake into another dream. "Unfolding Way" (3:56) to me sounds like a series of sheets that are made of night. The sound has a flowing, surreal, dreamlike quality, neither affirming or denying what "is" or "is not." Human reason has boundaries, when we sometimes experience existential dread, anxiety, or anguish, the moment gets stuck and stands still, and to seek expectantly the possibility of the good is to hope, perfection guides us from inside. Following this principle allows us to live in peace with nature and to find tranquillity. "A Perfect Heart" (9:44) brings a sound of motion deep within huge clouds. Later the sun comes out and is sparkling brightly. A centaur is an example of poetic fiction, an illusion from antiquity, or perhaps a relic of someone’s dream. Humans are thus sometimes compelled to find or create meaning, authenticity is evidenced in acting, one should act as oneself and try to realize that in the most lucid dreams we are in control. "Momentary Illusions" (11:21) brings us deeper ever more, floating between the bottom of the ocean and the shimmering surface of the water. Does a dream offer clues for a deeper interpretation of waking reality? The idea of lucid dreaming, of knowing that you're dreaming and thus being able to exert some control over your dreams, suggests that the only things that exist are thoughts and ideas. In the closing track, "A Notion of Being" (15:30), the sound asks me, can there be a desert canyon under water? This is what the wind might sound like there. Time Being allows listeners to consider many impossible things. Time travel is the concept of moving backwards or forwards to different points in time, and some people might be traveling at different speeds, while agreeing on cause and effect, and measure different time separations between events. The past lies behind, fixed and immutable, while the future lies ahead and is not necessarily fixed. Music such as this investigates being as being, often to find no real equivalent of our concept of existence. Again the essential questions, perhaps the only questions that matter, are: Does it sound pleasing? Will you play it again? 1 An Ocean of Time 2 Drifting Form, Ineffable Void 3 Here. Now. Always. 4 Infinite Cadence 5 Unfolding Way 6 A Perfect Heart 7 Momentary Illusions 8 A Notion of Being An Ocean Of Time was mastered by Ben Cox, and is available for physical purchase in CD format and in 24-BIT AUDIOPHILE, CD QUALITY LOSSLESS, MP3 and streaming formats. The CD version of the album arrives in a factory sealed 6-panel gatefold package that includes vibrant artwork, liner notes, a 4-page booklet, and exquisite package design by Daniel Pipitone, with an original photo by Matthew Cooper. Time Being will be featured in the coming weeks on Spotted Peccary Music's popular Spotify "Impulse: Artist Curated" playlist, and on the label's YouTube live stream series: Transmissions; subscribe for updates at the links below. About Time Being: Time Being is the collaborative project of Jourdan Laik and Phillip Wilkerson. Both Jourdan and Phillip are interested in expressing and capturing photographic and/or artistic images that relate to time, eternity, and capturing the presence of the current moment, that is, freezing a moment of time in an artistic expression. Their collaborative music is an attempt to capture the presence of the moment using audio and sound capture. (timebeingmusic.com) About Spotted Peccary Music: Portland-based Spotted Peccary Music is North America’s finest independent record label with a focus on deep, vast and introspective soundscapes. For over three decades, the artists of Spotted Peccary have been on a mission to develop, produce, publish and release ultra-high-quality, deep-listening experiences that engage the listener and exceed expectations. Every release is carefully prepared in a variety of high quality formats from MP3 to high-res studio masters. Explore more than 170 titles and 45 artists at SpottedPeccary.com and AmbientElectronic.com. Links: Spotted Peccary Album page: https://spottedpeccary.com/shop/an-ocean-of-time/ Youtube Transmissions: https://youtu.be/kxuu089d-48 Time Being Artist page: https://spottedpeccary.com/artists/time-being/ MeWe: https://mewe.com/p/spottedpeccarymusic Facebook: https://www.facebook.com/timebeingmusic Bandcamp: https://ambientelectronic.bandcamp.com/ Instagram: https://www.instagram.com/spottedpeccary/ Spotify: https://open.spotify.com/user/spottedpeccary
Bombardier Jones creates rock and roll reminiscent of the likes of The Monkees, The Kinks, and many other Brit-rock favorites of the 90s — which doesn’t come as a surprise, considering frontrunner Ian Jones credits British psych-rock and the alt-rock of the 80s/90s as some of his greatest musical influences. Based in Baltimore, Ian Jones has long run in the underground indie-rock scene of DC, and his band’s latest release Dare to Hope has been long anticipated. The album perfectly showcases Jones melodic vocals and guitar riffs, especially on tracks such as “Take Your Time.” “Take Your Time” gently carries the listener through a sweetly sung chorus as electric guitars softly strum in the background. As the melody builds, sweet piano accompaniments contribute to the reassuring sonic landscape of the track, instilling peace within the listener. Listen here: https://open.spotify.com/track/4yGj2PDXCaokC1NG0TqoEv?si=CEEsu_D3SkSCe-dbNM_r0Q
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