ROBERT RICH / FARYUS - NEW ALBUM
PLANET BOELEX - FREE DOWNLOAD
DATAOBSCURA
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August news can be found HERE
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.
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
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