What was your original vision in creating your current musical act?
Pan Electric - was a created in name as a reflection of my eclectic tastes. The God Pan has associations with music. the "electric" for me is a reference to Uranian electric energy - the "spark" of ideas.
What led you to make your first album and how did your ‘sound’ take hold?
My first album was "Music for a busy head" and it was self therapy!
I needed to slow down after 5 years of being in the Green Nuns and I also wanted to explore how music affects our moods and state of consciousness
beyond the feelgood energy rush of a party tune . It’s deeply inward and designed to create inner calm.
What’s the story behind your current album?
“About time” is a collaboration with Matt Hillier aka ISHQ . Matt is an amazing synthesist and provides the most amazing and interesting sound "modules" or bricks for me to play with. I once said that we choose the big, universal themes that we do in the same way that a child uses stabilisers on a bike!
And this is no different. Time is such a great subject to work with as an artist and as a musician - nobody really understands it so it’s license to play!
Who would you say are your musical influences?
I've been through the a-z and can appreciate a Beatles song alongside Bach or Brian Eno. Its all about the uniqueness of each piece, not the artist and not even the whole album - each track. I’ve bought many albums for one track.
I remember hearing this song at Reading Rock Festival once when I was young - it had this amazing west coast , Byrds style 12 string electric guitar. The album it came from had some crazy name like “The adventures of Kid copter in Potato land"
- the track was called "turn to the right" I scoured the land to find it and when I eventually found it, every other track on the album was just totally mediocre, in fact total crap. But that one track.......
What process do you use to make music?
I have a machine that runs on dreams and wind. It makes the tunes for me :)
I find starting hard , that's why I like working with Ishq- he gives me the elements to start with.
My strength is arranging and working with a simple idea.
The trick/key to finishing a piece is to leave it for a few days or even weeks before doing mixes. You need to become un-attached from a track to know when it’s time to step off the process.
What music do you listen to for pleasure?
I love silence. I'm lucky enough to have lived on a farm for the last 3 years and it’s really helped attune my ears. Owls at night, sheep in spring, the sound of nature is the best track to listen to.
Most of my listening goes on in the car when I'm driving. I spin through radio stations to try and find stuff I’ve not heard.
Why sound and not another creative medium?
I’ve often asked myself that, I love to write and used to write a lot of lyrics. I think that anyone who is creative will have an appreciation and language for all art forms but an instinct that focuses on one.
I'm also into "Communication” and that doesn't have to be art but it can include all forms of art. I'd say I'm as much a communicator as an artist.
What do you anticipate might be the most exciting thing for the future of electronic music?
I think new instruments. I saw Neon Neon the other week and they were using those midi triggered drumsticks that you just move in the air without hitting anything. Great fun!
I think electronica is only just starting to find its relevance in art and will evolve hugely as the world at large accepts it more. Good times ahead.
I also think that as with all art - multimedia is the way forward.
How do you feel about performing Live?
I love to perform but its a paradox with electronica. My background is a session guitarist, so I know what its like to perform in a 11 piece soul band with no sequences or click tracks. Electro is hard to represent live ...but not impossible and I think the key is to allow room for hybrid performance between electro and acoustic. And to allow room for improvisation.
In what ways do other musicians work with you on your creations?
I work with other musicians as much as a can. I wrote and produced the music for "Crush” a PSP game for Sega and was able to use about 10 other musicians in total. They bring character and depth as well as talent and colour to a production. But most of all its about making it an enjoyable process and a team effort. Humans love to co-operate and muck in on any project. It makes us feel good.
Friday, 21 November 2008
Friday, 5 September 2008
CURRENT NEWS
CURRENT NEWS ITEMS INCLUDE
ROBERT RICH / FARYUS - NEW ALBUM
PLANET BOELEX - FREE DOWNLOAD
DATAOBSCURA
Got any news - leave a comment here.
ROBERT RICH / FARYUS - NEW ALBUM
PLANET BOELEX - FREE DOWNLOAD
DATAOBSCURA
Got any news - leave a comment here.
August news can be found HERE
INTRODUCING - RODRIGO RODRIGUEZ
||[ RODRIGO RODRIGUEZ ]||
Born in Argentina (1978). Rodriguez arrived to Spain (the island of
Majorca) in 1988, where he spent most of his childhood. At an early
age, he began to study modern and classical music.
Rodrigo's professional music career began in Spain. It was there
that he discovered his first Asian instrument the Shakuhachi flute, a
Japanese bamboo flute used by Buddhist monks in meditation practices. Fascinated by Japanese music, he travelled to Japan
several times to enhance his knowledge.
He studied with the Grand Master, Kaoru Kakizakai in the International Shakuhachi Kenshu-kan School and travelled around
the world learning about traditional instruments from Japan, China,
India, Iran and Thailand. His interest in traditional and ethnic
musical instruments began before he reached his teenage years.
As a young child, Rodrigo had a vision for imitating the music and
sounds he heard in his mind. His many and diverse travels enabled
him to acquire a rare collection of experiences from which to create
his unique compositional language.
Since 2004, Rodrigo has been the first musician in Japan to
introduce innovative and developed instruments from European countries. For example, the Hang Drum, which significantly influenced his music and its composition, altering Japanese audiences perception of 21st century sounds and their textures.
His concept is not to use these instruments in a native way, but to continue respecting each instrument's individual spirit. Rodrigo's roots as a Spanish musician have not been forgotten.
In 2006 several compositions from his album "Inner Thoughts" were licensed, arousing the interest of a well known record label, Gemini Sun Record based in Los Angeles, CA.
Rodrigo's compositions can be divided into three basic categories:
New Age, World Music and Contemporary Music.
In recent years he has performed numerous concerts in both the
West and the East, at legendary stages like Imperial Hotel Tokyo
and NHK Culture Center of Japan.
---------------------------------------------------------------------------
One album from Rodrigo reviewed at Morpheus is Inner Thoughts - released: April 24, 2006
This album consists of a mix of the East and the West in one music using traditional Asian and Western instruments.
Healing melodies of Spanish singer, Cristina Brunet, shakuhachi flute, acoustic guitar...result in an album which makes your atmosphere relaxing and comfortable.
----------------------------------------------------------------------------
Rodrigo's personal views on Inner Thoughts
During about a year of composition, we were inspired with the idea of mixed spiritual instruments originally from Japan. (Shakuhachi, zen flute used in the Edo Era- 500 years ago.)
Also, I do not forget my origin and roots in the West - using modern and classical acoustic instruments.
I am honored to be involved in this project with a Spanish singer, Cristina Brunet - bringing healing melodies and voice, new age harmonies mixing West and East in one beautiful music.
All inspiration was born in the deepest feelings of and the desire to express parts and experience of my life, visiting several countries especially Japan and thousands of Buddhist monasteries.....
Born in Argentina (1978). Rodriguez arrived to Spain (the island of
Majorca) in 1988, where he spent most of his childhood. At an early
age, he began to study modern and classical music.
Rodrigo's professional music career began in Spain. It was there
that he discovered his first Asian instrument the Shakuhachi flute, a
Japanese bamboo flute used by Buddhist monks in meditation practices. Fascinated by Japanese music, he travelled to Japan
several times to enhance his knowledge.
He studied with the Grand Master, Kaoru Kakizakai in the International Shakuhachi Kenshu-kan School and travelled around
the world learning about traditional instruments from Japan, China,
India, Iran and Thailand. His interest in traditional and ethnic
musical instruments began before he reached his teenage years.
As a young child, Rodrigo had a vision for imitating the music and
sounds he heard in his mind. His many and diverse travels enabled
him to acquire a rare collection of experiences from which to create
his unique compositional language.
Since 2004, Rodrigo has been the first musician in Japan to
introduce innovative and developed instruments from European countries. For example, the Hang Drum, which significantly influenced his music and its composition, altering Japanese audiences perception of 21st century sounds and their textures.
His concept is not to use these instruments in a native way, but to continue respecting each instrument's individual spirit. Rodrigo's roots as a Spanish musician have not been forgotten.
In 2006 several compositions from his album "Inner Thoughts" were licensed, arousing the interest of a well known record label, Gemini Sun Record based in Los Angeles, CA.
Rodrigo's compositions can be divided into three basic categories:
New Age, World Music and Contemporary Music.
In recent years he has performed numerous concerts in both the
West and the East, at legendary stages like Imperial Hotel Tokyo
and NHK Culture Center of Japan.
---------------------------------------------------------------------------
One album from Rodrigo reviewed at Morpheus is Inner Thoughts - released: April 24, 2006
This album consists of a mix of the East and the West in one music using traditional Asian and Western instruments.
Healing melodies of Spanish singer, Cristina Brunet, shakuhachi flute, acoustic guitar...result in an album which makes your atmosphere relaxing and comfortable.
----------------------------------------------------------------------------
Rodrigo's personal views on Inner Thoughts
During about a year of composition, we were inspired with the idea of mixed spiritual instruments originally from Japan. (Shakuhachi, zen flute used in the Edo Era- 500 years ago.)
Also, I do not forget my origin and roots in the West - using modern and classical acoustic instruments.
I am honored to be involved in this project with a Spanish singer, Cristina Brunet - bringing healing melodies and voice, new age harmonies mixing West and East in one beautiful music.
All inspiration was born in the deepest feelings of and the desire to express parts and experience of my life, visiting several countries especially Japan and thousands of Buddhist monasteries.....
The album Across The East is reviewed at Morpheus HERE
INTRODUCING - DEAN DE BENEDICTIS
|[ DEAN DE BENEDICTIS ]||
Dean's music, among other of his mediums, is the result of his will to tie an essential common thread together between opposing genres and mentalities, as well as draw from them a natural sense of emotion, expanse, and mystery. This Southern California-based producer / performer / musician / visual and conceptual artist (otherwise known as SURFACE 10) has
always utilized his interest in a variety of styles and cultures to enrich the quality of his musical expression. Beginning his deep exploration of music in the 80's, De Benedictis covered a wide gamut of musical training and experience; moving through many jazz fusion and progressive rock bands, music theory classes, and producing/performing source music for network television over 12 years of his career.
Like many other artists, much of De Benedictis's non-commercial (personal) music was composed as a dedication and utility for his own life experiences: one example is how many of his pieces were actually created to take with him and listen to at specific outdoor locations (deserts, canyons, mountain summits, coastal regions, and unpopular-unpopulated areas),
thus perminently marking the place with the music in his memory. He dedicates his work to people, places, memories, etc., and aspires to communicate and suggest a similar functionality for the experiences of his audience.
Apart from releases under the name SURFACE 10 Dean has released some powerful albums under his own name. Here's some information on a couple ...
- SALVAGING THE PAST -
A freak of nature, a freak of technology, a freak of industry, a freak of ecology, regret and opportunity, continuing in conflict, they remain separate, and the children remain orphaned... Salvage the past, thus the present, thus the future
To the listener:
Our physical realm is comprised of drastically separate entities mix-matching and ambiguously aligning into one harmonious collage, such was the underlying principal behind my CD Salvaging The Past (a philosophy I've based more then one project on). A large multitude of my unreleased music had accumulated through the years, inspired by a variety of
"traditional" ambient music sub-genres. Eventually I was drawn to compile-and-release the best of this work, especially focusing on the music created around the period of my innitial Surface 10 CD in 96. From this huge reservoir of material came both Borrowed Time 2000 (the Surface 10 CD on Space For Music Records) and Salvaging The Past (a slightly more
crafted CD under my real name). It was obvious to me that the music had hints of icons like Mark Isham, Tangerine Dream, Ian Boddy, Manuel Gottsching, Robert Rich, R. Carlos Nakai, Klaus Schulze, Michael Stearns, and Patrick O'Hearn, so I gave them all credit for
having had that influence on me. With some songs containing an intense electronic base and others a pure acoustic base, creating the mood for Salvaging The Past was tricky, but I do feel that we brought the music together as best as it could be done. And, as usual, it is all from the same soul.
- A LONE REPLY -
If it is difficult to believe in worlds that exist beyond the physical realm, consider at first your own mind and all it holds. One of the countless vessels for that which lies unseen, yet one that remains alone, in this vast sea of material being.
For Dean De Benedictis, known to the electronic music world as Surface 10, A lone reply is a new turn, yet not unfamiliar territory. After accumulating an expansive sense of place from his travels, connecting with the land and native people of the West, Dean was moved to pay a solitary homage to these earth-based
values by creating a full-length CD of tribal ambient music. Such instruments as American Indian flutes (Mayan style), ocarina, Balinese flutes, piano, synth, hand drums, slit drums, and Dean's voice can be heard throughout "A lone reply", ninety percent of which was
played by hand. Some of these instruments were accumulated during Dean's travels through the American West and abroad. Field recordings and various samples were also utilized to create slowly evolving layers of sound, merging into a blissful, yet deep and chasmic
sound-setting. Dean states, "In a time of overwhelming technological advancement, this is simply a lone reply to it all. One with deep serenity, and attonment."
Dean's music, among other of his mediums, is the result of his will to tie an essential common thread together between opposing genres and mentalities, as well as draw from them a natural sense of emotion, expanse, and mystery. This Southern California-based producer / performer / musician / visual and conceptual artist (otherwise known as SURFACE 10) has
always utilized his interest in a variety of styles and cultures to enrich the quality of his musical expression. Beginning his deep exploration of music in the 80's, De Benedictis covered a wide gamut of musical training and experience; moving through many jazz fusion and progressive rock bands, music theory classes, and producing/performing source music for network television over 12 years of his career.
Like many other artists, much of De Benedictis's non-commercial (personal) music was composed as a dedication and utility for his own life experiences: one example is how many of his pieces were actually created to take with him and listen to at specific outdoor locations (deserts, canyons, mountain summits, coastal regions, and unpopular-unpopulated areas),
thus perminently marking the place with the music in his memory. He dedicates his work to people, places, memories, etc., and aspires to communicate and suggest a similar functionality for the experiences of his audience.
Apart from releases under the name SURFACE 10 Dean has released some powerful albums under his own name. Here's some information on a couple ...
- SALVAGING THE PAST -
A freak of nature, a freak of technology, a freak of industry, a freak of ecology, regret and opportunity, continuing in conflict, they remain separate, and the children remain orphaned... Salvage the past, thus the present, thus the future
To the listener:
Our physical realm is comprised of drastically separate entities mix-matching and ambiguously aligning into one harmonious collage, such was the underlying principal behind my CD Salvaging The Past (a philosophy I've based more then one project on). A large multitude of my unreleased music had accumulated through the years, inspired by a variety of
"traditional" ambient music sub-genres. Eventually I was drawn to compile-and-release the best of this work, especially focusing on the music created around the period of my innitial Surface 10 CD in 96. From this huge reservoir of material came both Borrowed Time 2000 (the Surface 10 CD on Space For Music Records) and Salvaging The Past (a slightly more
crafted CD under my real name). It was obvious to me that the music had hints of icons like Mark Isham, Tangerine Dream, Ian Boddy, Manuel Gottsching, Robert Rich, R. Carlos Nakai, Klaus Schulze, Michael Stearns, and Patrick O'Hearn, so I gave them all credit for
having had that influence on me. With some songs containing an intense electronic base and others a pure acoustic base, creating the mood for Salvaging The Past was tricky, but I do feel that we brought the music together as best as it could be done. And, as usual, it is all from the same soul.
- A LONE REPLY -
If it is difficult to believe in worlds that exist beyond the physical realm, consider at first your own mind and all it holds. One of the countless vessels for that which lies unseen, yet one that remains alone, in this vast sea of material being.
For Dean De Benedictis, known to the electronic music world as Surface 10, A lone reply is a new turn, yet not unfamiliar territory. After accumulating an expansive sense of place from his travels, connecting with the land and native people of the West, Dean was moved to pay a solitary homage to these earth-based
values by creating a full-length CD of tribal ambient music. Such instruments as American Indian flutes (Mayan style), ocarina, Balinese flutes, piano, synth, hand drums, slit drums, and Dean's voice can be heard throughout "A lone reply", ninety percent of which was
played by hand. Some of these instruments were accumulated during Dean's travels through the American West and abroad. Field recordings and various samples were also utilized to create slowly evolving layers of sound, merging into a blissful, yet deep and chasmic
sound-setting. Dean states, "In a time of overwhelming technological advancement, this is simply a lone reply to it all. One with deep serenity, and attonment."
The album Salvaging The Past is reviewed at Morpheus HERE
INTRODUCING
Morpheus is starting a new series of blog entries under the heading
INTRODUCING
INTRODUCING
Introducing Shelly Harland
Introducing Janet Robbins
Introducing Michael Briel
Introducing Robert Douglas
Introducing Indidginus
INTRODUCING - MAX CORBACHO
|[ MAX CORBACHO ]||
Max Corbacho is an independent artist born in the southwest of Spain, in the province of Badajoz. This enormous land sprinkled with oaks where he was born and spent the first years of his life, is perhaps the deeper track that marks his music. Starred nights of summer, the caress of the nocturnal breeze and the sedative song of the crickets, immense horizons, deep blue skies and silence.
The music of Max is a constant reference to these elements, and continuously returns to uninhabited and mysterious places to catch those atmospheres, that are translated in sound by a fusion of techniques that go from the recording of natural sounds, programming of sounds in synthesizers and samplers, to the manipulation of all these elements in the computers. The result are extremely dense and hypnotic sonic landscapes.
His musical trajectory began by studying guitar, playing in local rock bands and, after some years as an electric guitar player, slowly becoming interested in electronic music. First with legendary bands like Tangerine Dream or music such as Richard Burmer and Vangelis. Later, his influences came to include such artists as Brian Eno, Robert Rich, Steve Roach, Vidna Obmana, Alio Die and Michael Stearns.
In 1999 his first work,"Vestiges" was produced. Soon the prestigious online store Backroads Music chose this album as one of the best of 2000, and "Vestiges" became one of the more highly praised Space-ambient CD´s around that time. "Vestiges" was considered a sincere, touching, powerful work, full of mystery.
In the year 2000 Max published his second CD, "Far Beyond The Immobile Point", followed by "The Resonant Memory of Earth", published by the North American label "Space For Music". Further releases include "Nocturnal Emanations", "Indalo" and "Moontribe" - each one larger and more accomplished than the last. Max has also worked in close collaboration with Argentine musician (settled now in Barcelona) Bruno Sanfilippo, releasing a CD together and setting up the record label "ad21music".
The latest album The Talisman is yet another step forward. Here the artist explains "I have tried to create all the songs of this work "inside" my synthesizers exclusively, inside this deeply isolated world, an amniotic-like innerspace that develops in the synth and multi-effects circuits, without insert any "external" element except for the voices in the first song. Also, I have experimented more and more with long, spacious reverbs and looping treatments ". Thus, the "oceanic" nature is strengthened, creating an atemporal quality, suspended in time and space, without rare elements disrupting the internal balance and natural flow of harmonic streams. No tempo, no synchronization, maybe only the breathing and the pulse of the artist.
Max Corbacho is an independent artist born in the southwest of Spain, in the province of Badajoz. This enormous land sprinkled with oaks where he was born and spent the first years of his life, is perhaps the deeper track that marks his music. Starred nights of summer, the caress of the nocturnal breeze and the sedative song of the crickets, immense horizons, deep blue skies and silence.
The music of Max is a constant reference to these elements, and continuously returns to uninhabited and mysterious places to catch those atmospheres, that are translated in sound by a fusion of techniques that go from the recording of natural sounds, programming of sounds in synthesizers and samplers, to the manipulation of all these elements in the computers. The result are extremely dense and hypnotic sonic landscapes.
His musical trajectory began by studying guitar, playing in local rock bands and, after some years as an electric guitar player, slowly becoming interested in electronic music. First with legendary bands like Tangerine Dream or music such as Richard Burmer and Vangelis. Later, his influences came to include such artists as Brian Eno, Robert Rich, Steve Roach, Vidna Obmana, Alio Die and Michael Stearns.
In 1999 his first work,"Vestiges" was produced. Soon the prestigious online store Backroads Music chose this album as one of the best of 2000, and "Vestiges" became one of the more highly praised Space-ambient CD´s around that time. "Vestiges" was considered a sincere, touching, powerful work, full of mystery.
In the year 2000 Max published his second CD, "Far Beyond The Immobile Point", followed by "The Resonant Memory of Earth", published by the North American label "Space For Music". Further releases include "Nocturnal Emanations", "Indalo" and "Moontribe" - each one larger and more accomplished than the last. Max has also worked in close collaboration with Argentine musician (settled now in Barcelona) Bruno Sanfilippo, releasing a CD together and setting up the record label "ad21music".
The latest album The Talisman is yet another step forward. Here the artist explains "I have tried to create all the songs of this work "inside" my synthesizers exclusively, inside this deeply isolated world, an amniotic-like innerspace that develops in the synth and multi-effects circuits, without insert any "external" element except for the voices in the first song. Also, I have experimented more and more with long, spacious reverbs and looping treatments ". Thus, the "oceanic" nature is strengthened, creating an atemporal quality, suspended in time and space, without rare elements disrupting the internal balance and natural flow of harmonic streams. No tempo, no synchronization, maybe only the breathing and the pulse of the artist.
The album Talisman is reviewed at Morpheus HERE
Sunday, 24 August 2008
MUSICZEIT
|[ MUSICZEIT ]||
MusicZeit is a new music download solution that aims to deliver both a better value on-line music purchasing experience as well as a bespoke self managed virtual store for artists & labels.
The former is achieved by concentrating on the quality of the audio with lossless FLAC files & high quality MP3’s in combination with high resolution downloadable artwork. Your purchased, downloaded music can thus be turned into a pro-quality physical product.
The latter allows artists & labels to run their own music download store. Free from any corporate branding you can upload your music / text / photos whenever you want. With our easy to use product / artist management systems you can feel connected to your on-line content knowing you can provide your customers with an unrivalled level of service & quality.
Listed below are some of the main benefits of the MusicZeit Download Platform.
For customers
Download / Burn / Print - have the album on your shelf, not just your hard drive
CD quality lossless downloads (FLAC), or
High quality MP3 (256K)
DRM free
High quality, printable artwork
Simple to navigate / search site
No adverts or other irrelevant clutter
Better than industry standard price / quality ratio
Easy to use "My Purchases" management
Lots of exclusive music
All legal with artists / labels getting paid
For labels / artists
The Download Platform with Extra Bandwidth
Create & manage your own download store with real time sales stats
High quality, DRM free, MP3 (256K) & CD quality lossless downloads (FLAC)
Edit your own 60 second preview samples, text & logos
Give your customers high quality, printable artwork
Link customers directly to your own store which you can choose to be branded or
unbranded with the Music Zeit logo
Upload your files via FTP so you can control when you release your music
Choose your own prices (subject to recommended minimums)
Price your music in UK Pounds, Euros or US Dollars
You are paid 50% of selling price after deduction of relevant fees/taxes
All legal site reporting sales to MCPS
Visit the MUSICZEIT website:
Web: www.musiczeit.com
Email: info@musiczeit.com
MusicZeit is a new music download solution that aims to deliver both a better value on-line music purchasing experience as well as a bespoke self managed virtual store for artists & labels.
The former is achieved by concentrating on the quality of the audio with lossless FLAC files & high quality MP3’s in combination with high resolution downloadable artwork. Your purchased, downloaded music can thus be turned into a pro-quality physical product.
The latter allows artists & labels to run their own music download store. Free from any corporate branding you can upload your music / text / photos whenever you want. With our easy to use product / artist management systems you can feel connected to your on-line content knowing you can provide your customers with an unrivalled level of service & quality.
Listed below are some of the main benefits of the MusicZeit Download Platform.
For customers
Download / Burn / Print - have the album on your shelf, not just your hard drive
CD quality lossless downloads (FLAC), or
High quality MP3 (256K)
DRM free
High quality, printable artwork
Simple to navigate / search site
No adverts or other irrelevant clutter
Better than industry standard price / quality ratio
Easy to use "My Purchases" management
Lots of exclusive music
All legal with artists / labels getting paid
For labels / artists
The Download Platform with Extra Bandwidth
Create & manage your own download store with real time sales stats
High quality, DRM free, MP3 (256K) & CD quality lossless downloads (FLAC)
Edit your own 60 second preview samples, text & logos
Give your customers high quality, printable artwork
Link customers directly to your own store which you can choose to be branded or
unbranded with the Music Zeit logo
Upload your files via FTP so you can control when you release your music
Choose your own prices (subject to recommended minimums)
Price your music in UK Pounds, Euros or US Dollars
You are paid 50% of selling price after deduction of relevant fees/taxes
All legal site reporting sales to MCPS
Visit the MUSICZEIT website:
Web: www.musiczeit.com
Email: info@musiczeit.com
Friday, 22 August 2008
Sleepy Town Manufacture Downloads.
We found this post at the Sleepy Town Manufacture Myspace page:
9 years
stown.org says...
It's 9 years to stm and we would like to let you listen all of our music for free. We just thought - why not, and uploaded every stm released and unreleased album, lives and mixes to ftp. but we have no time to make it look good, so it's just ftp, without passwords, though with zip archives and some notes. enjoy. I will try to keep it updated
http://radio.crimusic.info/sleepy/
Also, there will be new stm ep soon enough, on monotonik netlabel.
It's a four track ep, two from 2007 summer, they were recorded when I was in montenegro, very inspiring; and the other two are really new, though they sound like stm old ones :) some nice reminders.
9 years
stown.org says...
It's 9 years to stm and we would like to let you listen all of our music for free. We just thought - why not, and uploaded every stm released and unreleased album, lives and mixes to ftp. but we have no time to make it look good, so it's just ftp, without passwords, though with zip archives and some notes. enjoy. I will try to keep it updated
http://radio.crimusic.info/sleepy/
Also, there will be new stm ep soon enough, on monotonik netlabel.
It's a four track ep, two from 2007 summer, they were recorded when I was in montenegro, very inspiring; and the other two are really new, though they sound like stm old ones :) some nice reminders.
Friday, 8 August 2008
Master Marherita - Podcast Stoner Mix
Catch the latest podcast from Master Margherita - Stoner Mix.
Track List:
- Samuel Hall Band - live at the Ejma, intro concert june 07
- Gülün Kokusu Vardı - Pencereden Kar Geliyor
- Samuel Hall Band - Opus 5 test1 (Master Margherita rmx)
- Robert Rich - Never alone
- Krill Minima - Nautica
- A Small Good Thing - Someplace South of Here
- Biosphere - People are friends
- Trentemøller - The very last resort
- Master Margherita & Samuel Hall Band - Sam Hall is back
- Bohren und Der Club of Gore - MIttelfinger
- Samuel Hall Band - Hell's Bells
- Bohren und Der Club of Gore - Grave Wisdom
- Miniloge - Even The Wind Seemed In Deep Sleep
- Magic Square of the Sun - Utopian Moan Garden
- Brian Eno - Lanzarote
Track List:
- Samuel Hall Band - live at the Ejma, intro concert june 07
- Gülün Kokusu Vardı - Pencereden Kar Geliyor
- Samuel Hall Band - Opus 5 test1 (Master Margherita rmx)
- Robert Rich - Never alone
- Krill Minima - Nautica
- A Small Good Thing - Someplace South of Here
- Biosphere - People are friends
- Trentemøller - The very last resort
- Master Margherita & Samuel Hall Band - Sam Hall is back
- Bohren und Der Club of Gore - MIttelfinger
- Samuel Hall Band - Hell's Bells
- Bohren und Der Club of Gore - Grave Wisdom
- Miniloge - Even The Wind Seemed In Deep Sleep
- Magic Square of the Sun - Utopian Moan Garden
- Brian Eno - Lanzarote
Chad Hoefler's take on the future of ambient music.
We asked musician Chad Hoefler:
What do you think the future holds for ambient music?
Forecasting the future is always difficult, but I assume (and hope) that ambient music will still be flourishing. The advent and popularity of digital distribution and music production software has resulted in an explosion of ambient artists and labels: there has probably been more ambient music made this decade than previous decades combined. Technology has rapidly facilitated the exchange from musician to listener, which has pros and cons. I suspect, however, that ambient music will always appeal only to a small faction of music listeners. It lacks many of the characteristics we commonly find in commercially successful music, it often requires patience, and it simply sounds too bizarre or too boring to most people. Perhaps with larger exposure though, ambient music will blossom into the future. Who knows?
What do you think the future holds for ambient music?
Forecasting the future is always difficult, but I assume (and hope) that ambient music will still be flourishing. The advent and popularity of digital distribution and music production software has resulted in an explosion of ambient artists and labels: there has probably been more ambient music made this decade than previous decades combined. Technology has rapidly facilitated the exchange from musician to listener, which has pros and cons. I suspect, however, that ambient music will always appeal only to a small faction of music listeners. It lacks many of the characteristics we commonly find in commercially successful music, it often requires patience, and it simply sounds too bizarre or too boring to most people. Perhaps with larger exposure though, ambient music will blossom into the future. Who knows?
Matt (ISHQ) Hillier's take on the future of ambient music.
We asked Ishq musician Matt Hillier:
What do you think the future holds for ambient music?
Ambient is a blurred term, always was ...
Music of the invisible and indivisible.
Simple
Pure math
Geometric shape meets sound
Self same self similiar
The fractal like nature of human perception means repetition is ultimately not the nature of life but a cyclic point in space so rigid patterns of 4 will be replaced over time by complex multiples of this, 5 being the next progression maybe.
Universal is Fractal and Life spiral like - music will begin to be more and more fractal and dna like, evolving progressions and non cyclic and more linear in structure, worlds within worlds.
Miraculous music will appear over time, able to move the human being beyond their own sense of time and space and replace drugs and also able to initate humans into a higher level of being in large groups and act as a conduit for Evolutionary Forces and the guiding force of Love. Sound will manifest the future as sound was 'in the beginning '.
The future ambient music will be more and more about works of beauty and love and more and more about people co-creating with Genesis in mind and motivated by this Force.
Hope that makes sense, for me its an act of service and I believe music is the force which evolves matter or one and the missing link in some sense.
Fractal and non rigid formless music is where I feel the future lies, the future lies in creating truly Magic music which has a magical effect on the listener and this required Invocation and the ability to connect with and also act as a conduit for forces outside ourself to a degree and also believe in the power of sound. This is where the future lies.Anything else is history .Style is frozen in time and tradition and for me tedious when there is so much left to be invented. Timeless styless music is the future.
Love is universal, music which reflects this Eternal Love will transcend time and is the future music .
Matt
What do you think the future holds for ambient music?
Ambient is a blurred term, always was ...
Music of the invisible and indivisible.
Simple
Pure math
Geometric shape meets sound
Self same self similiar
The fractal like nature of human perception means repetition is ultimately not the nature of life but a cyclic point in space so rigid patterns of 4 will be replaced over time by complex multiples of this, 5 being the next progression maybe.
Universal is Fractal and Life spiral like - music will begin to be more and more fractal and dna like, evolving progressions and non cyclic and more linear in structure, worlds within worlds.
Miraculous music will appear over time, able to move the human being beyond their own sense of time and space and replace drugs and also able to initate humans into a higher level of being in large groups and act as a conduit for Evolutionary Forces and the guiding force of Love. Sound will manifest the future as sound was 'in the beginning '.
The future ambient music will be more and more about works of beauty and love and more and more about people co-creating with Genesis in mind and motivated by this Force.
Hope that makes sense, for me its an act of service and I believe music is the force which evolves matter or one and the missing link in some sense.
Fractal and non rigid formless music is where I feel the future lies, the future lies in creating truly Magic music which has a magical effect on the listener and this required Invocation and the ability to connect with and also act as a conduit for forces outside ourself to a degree and also believe in the power of sound. This is where the future lies.Anything else is history .Style is frozen in time and tradition and for me tedious when there is so much left to be invented. Timeless styless music is the future.
Love is universal, music which reflects this Eternal Love will transcend time and is the future music .
Matt
Carbon Based Lifeforms on The Future of Electronic Music
We asked Carbon Based Lifeforms:
What do you think the future holds for electronic music?
One thing that already happened and will grow is collaborations via the internet. Take H.U.V.A. Network for example, Vince in France and Magnus in Sweden using the internet to write an album together. Also the distribution of music is changing. One could be his own label and use internet shops for selling and forums for promotion.
What developments are you looking forward to?
More synths like Access Virus TI. Hardware seamless integrated in the software. A hardware synth with only one connector, like firewire.
Laptops are getting so powerful that its now quite possible to write music on the fly wherever you are, and with all the new powerful softsynths and possible more portable synths there's some quite interesting possibilities.
Why do you think electronic ambient music has become so popular?
I recently introduced a female Drum n Bass-DJ to ambient and her response was nothing but positive. She said something like: "In every track there's a whole new world of dreams to explore". And I think that is the key, being able to listen and drift away for a while without having to dance or nothing. Good trips without drugs if you will.
What do you think the future holds for electronic music?
One thing that already happened and will grow is collaborations via the internet. Take H.U.V.A. Network for example, Vince in France and Magnus in Sweden using the internet to write an album together. Also the distribution of music is changing. One could be his own label and use internet shops for selling and forums for promotion.
What developments are you looking forward to?
More synths like Access Virus TI. Hardware seamless integrated in the software. A hardware synth with only one connector, like firewire.
Laptops are getting so powerful that its now quite possible to write music on the fly wherever you are, and with all the new powerful softsynths and possible more portable synths there's some quite interesting possibilities.
Why do you think electronic ambient music has become so popular?
I recently introduced a female Drum n Bass-DJ to ambient and her response was nothing but positive. She said something like: "In every track there's a whole new world of dreams to explore". And I think that is the key, being able to listen and drift away for a while without having to dance or nothing. Good trips without drugs if you will.
Robert Rich - Prehistory of Ambient Music
What lead up to modern ambient music - how did it get started - who were it's forerunners - what was your early vision?
I think the stream for this music has flowed parallel to other musical streams all along. Of the many roles that music plays - entertainment, mating ritual, storytelling, news transmission, protest, etc. - there are also the roles of shamanic ritual, medicine chant, devotional music and such which I feel predated our modern forms of "ambient." We can't ignore 20th century mavericks like Eric Satie, John Cage, Harry Partch, Lou Harrison, and other pre-1960 composers who widened the definitions of music and challenged the intellectual traditions of Western art-music. In the 1960's we had the immense influence of minimalism and psychedelia. Terry Riley, LaMonte Young, Pauline Oliveros, Steve Reich and others loom very large as pioneers in new tonality and deep listening. After that, of course, came the inrush of psychedelic-inspired spacemusic from Germany and elsewhere. That music was a big early influence on me, along with Brian Eno, who did a good job of synthesizing the ideas of John Cage and Cornelius Cardew into his "ambient" vocabulary.
However I think the composers that influenced me most from the point of view of compositional ideology were the sound environment artists like Annea Lockwood, Pauline Oliveros, Marianne Amocher and Bill Fontana. Their ideas of using rarefied and relocated environmental recording to heighten the listener's attention gave me the inspiration for my Sleep Concerts, as did Terry Riley's all night organ improvisations, and the Wayang puppet plays of Indonesia, fluxus events and other such intense long-form music. I feel that no single person or people innovated this music from a vacuum. We all come from the point of view of "slow art" and Deep Listening.
- Robert Rich
I think the stream for this music has flowed parallel to other musical streams all along. Of the many roles that music plays - entertainment, mating ritual, storytelling, news transmission, protest, etc. - there are also the roles of shamanic ritual, medicine chant, devotional music and such which I feel predated our modern forms of "ambient." We can't ignore 20th century mavericks like Eric Satie, John Cage, Harry Partch, Lou Harrison, and other pre-1960 composers who widened the definitions of music and challenged the intellectual traditions of Western art-music. In the 1960's we had the immense influence of minimalism and psychedelia. Terry Riley, LaMonte Young, Pauline Oliveros, Steve Reich and others loom very large as pioneers in new tonality and deep listening. After that, of course, came the inrush of psychedelic-inspired spacemusic from Germany and elsewhere. That music was a big early influence on me, along with Brian Eno, who did a good job of synthesizing the ideas of John Cage and Cornelius Cardew into his "ambient" vocabulary.
However I think the composers that influenced me most from the point of view of compositional ideology were the sound environment artists like Annea Lockwood, Pauline Oliveros, Marianne Amocher and Bill Fontana. Their ideas of using rarefied and relocated environmental recording to heighten the listener's attention gave me the inspiration for my Sleep Concerts, as did Terry Riley's all night organ improvisations, and the Wayang puppet plays of Indonesia, fluxus events and other such intense long-form music. I feel that no single person or people innovated this music from a vacuum. We all come from the point of view of "slow art" and Deep Listening.
- Robert Rich
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