Volume 300

0:00:00 — "The Dream of the Island" (Edit) by Jeff Johnson (1990)

0:03:59 — "Lost at Shore" (Edit) by Clifford White (1989)

0:07:12 — DJ

0:10:55 — "If I Could" (Edit) by Darrell Barnes (1993)

0:17:12 — "Vinterpassage" by Tom Wolgers (1987)

0:21:47 — "Les Animaux" by Jean-Louis Murat (1989)

0:22:36 — "Depressions" (Instrumental Edit) by Gregorian (1991)

0:23:42 — "Buzz Off" by Cyborgasm (1993)

0:24:13 — "Serenity, Pt. 1" (Edit) by Ariel Kalma (1989)

0:30:42 — "Absolute Sadist" by Mistress Kat (1993)

0:31:24 — "A Vampire Dances (Symmetry)" by Jon Hassell & Farafina (1988)

0:35:35 — "As Falls Wichita, So Falls Wichita Falls" (Edit) by Pat Metheny & Lyle Mays (1981)

0:43:12 — "Tantric Sexuality" (Edit) by Llewellyn (1999)

0:49:20 — "After I Said Goodnight" (Edit) by Kevin Braheny (1980)

0:54:33 — "Beyond Skin" (Edit) by Germán Bringas (1992)

0:56:19 — "Synergistic Perceptions" (Edit) by Robert Rich & B. Lustmord (1995)

0:57:36 — "Mkwaju II" by Vasilisk (1988)

1:00:37 — "An Echo of Night" (Edit) by Harold Budd & Brian Eno with Daniel Lanois (1984)

1:02:38 — "Eternal Dusk" (Edit) by Clifford White (1985)

1:03:15 — "For Those Who Ponder" by Jeff Johnson & David Friesen & Dave Hagelganz (1987)

1:08:15 — "幻惑" by Yukiyo Nakamura (1994)

1:10:18 — "Allegra" by Hans-Joachim Roedelius (1989)

1:14:40 — "Hope (Time Is Up?)" by Bo Stief (1987)

1:18:22 — "Peace of Mind" by Danny Gottlieb (1987)

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Palace of Dreams · Kevin Braheny - Tim Clark

I found this song with #BeatFind

Palace of Dreams · Kevin Braheny - Tim Clark

http://www.deezer.com/track/16593333

Check out The Way Home by Kevin Braheny on Amazon Music

https://music.amazon.com/albums/B0079YV50E?trackAsin=B0079YV5JU&do=play&ref=dm_sh_jAAzxXG6HPiIJdHO3f6gJhEZh

Привет, легковесные филуменисты... Самодеятельное настроение дилетанки на аккордах предрасположено к памятным и праздничным датам, к памятным и праздничным датам... Естественная реакция организма, моего, и на резкий запах из холодильника - альбомный кинематографический рыбец! Настроение с японской эстетикой, с японской эстетикой, с японской эстетикой. Легче писать, легче думать. Здесь и сейчас, в свете будущих событий. Соседка Маша вышла из больницы - на ее ключе написано ЭЛЬБОР, ЭЛЬБОР. Поплакала, в недалёком прошлом шведы были крупнейшим экспортёром хозяйственных спичек в мире, а что теперь? История происхождения. Картина мира - ВСЕ ЗАКОНЧИТСЯ В ПОНЕДЕЛЬНИК 17-ГО ОКТЯБРЯ 2022-ГО ГОДА / СУДЬБА ЗАБУДЕТ 16-ГО МАРТА 2019-ГО ГОДА / Опять же, от сестрёнки. Шла маленькая. Выйти из круга, обстоятельств. НИКТО НЕ ГОВОРИЛ. Многие помнят. По радио - Kevin Braheny - Lullaby for the Hearts of Space Улицы Ломоносова местами очень широкие - это радует!КРУТИКОВА ДИАНА АНДРЕЕВНА ИЗ ГОРОДА ЛОМОНОСОВА / DIANA8686 / 11-го октября 2022-гоТеле: +7 (981) 966 54 46

steve roach / kevin braheny -- western spaces

v/a “space, energy & light:experimental electronic and acoustic soundscapes 1961-88″

Reviews 259: Robert ÆOLUS Myers

In 2017, Hawaiian archivists Aloha Got Soul released A Retrospective, introducing me and many others to ambient starmaster and spiritual healer Robert ÆOLUS Myers. Existing within the broader new age tradition though also standing apart from it, ÆOLUS’ music is borne of deep communion with nature and the exploratory possibilities of electronic synthesis, with fluttering arpeggiations, dreamwave sequences, and ethnological rhythms supporting cloudform symphonies and mystical flute improvisations. And though those descriptors could apply to any number of indistinct massage parlor soundtracks, ÆOLUS has always maintained that he makes “new age music to wake up to,” with an intense focus on helping the listener realize their inner sense of truth. Going beyond this, his music exudes a sense of magical adventure, and the sonic universes that unfold across A Retrospective work as well for soundtracking fantasy kingdom explorations, starscape space journeys, twilight jungle dances, underwater forest treks, and psychedelic vision quests as they do for therapeutic purposes. So even though new age is a fair description for the work of ÆOLUS, I sense a closer sonic kinship with the Hearts of Space sound centered around artists such Michael Stearns, Kevin Braheny, and Steve Roach as well as Klaus Schulze’s Innovative Communication, especially Software’s work with flautist Toni Schneider.

To better understand ÆOLUS’ sonic world, it helps to trace his artistic path, which began with playing clarinet as a teenager in Ohio and bassoon during his studies at San Diego State. Like many California-based surf rats of the time, Myers was lured to the sparkling waves and paradise beaches of Hawaii, where he also played drums and completed a degree in ethnomusicology. Following this, he abandoned the world of percussion to join the Honolulu Symphony as a bassoonist, a setting which proved important to a developing experimental, new age, and space music scene in Hawaii driven by Jai Ma Music and Global Pacific Records. Indeed, the Honolulu Symphony also provided work for violinist Steve Kindler and his brother Bob, a cellist and audio engineer who would go on to produce and collaborate on many of Jai Ma’s and Global Pacific’s early records, including ÆOLUS’ Aeolian Melodies and Rays. And for while, it must have seemed like Hawaii was on the verge of establishing a fertile creative community, one that also included avant-garde sound artist Nelson Hiu and guitarist Paul Greaver. But it was not to be, for when Global Pacific uprooted and moved to California, many of the musicians followed, and once Hiu departed for Hong Kong in 1985, ÆOLUS was left on the islands to chart his own artistic path through the cosmos. 

The years since that dizzying period of collaborative creativity have seen Myers furthering his studies of devotional music and indigenous cultures while also continuing to release albums and perform live through a variety of contexts, including dance pieces and theater performances. And his talents in sonic healing have never stopped developing and now find broader expression through the practice of depth psychotherapy in the “alchemical tradition of Jung.” Which brings us to Talisman, a new and lovingly curated retrospective and re-interpretation project released by Origin Peoples. In keeping with the label’s tendency towards the left-hand path, this 2xLP set is unlike most archival compilations and augments its collection of previously released tracks from The Magician and High Priestess with an unreleased dreamscape, a breathtaking live performances from New York City in 1987, and most striking of all, contemporary interpretations of ÆOLUS’ music by K. Leimer, Pharaohs, Dreems, and Lieven Martens Moana. Thus Talisman both compliments A Retrospective and shows the ways in which Myers’ art has reverberated out through time, providing seeds for everything from fractal foam kosmische to jazz folk balearica to mutating deep house to fourth-world sonic collage.

Robert ÆOLUS Myers - Talisman (Origin Peoples, 2019) “Oracle,” coming from 1993’s High Priestess, sees universal bass currents pulsating with ominous intent while being swirled around by cosmic breaths. Kalimbas and bell-chimes decay across spacious expanses before blooming into mermaid choirs and a fourth world rhythm ritual fades into being, built around rimshot cascades, tom tom ceremonials, white noise shakers, and ethnological hand drums transformed into exo-planetary fluids. Overheard, alien pan-pipes slide in ways that defy logic and feedback vapors arc across the sky...all while synthesized orchestrations glow with ethereal shadow energy. “High Priestess” follows with wisps of spectral feedback swimming through the void as string synthesizers fade in, with Schulze-ian viol reveries flowing above swelling cellos and contrabass drones. As threads of cosmic melancholia wrap around the body, a simple and obscured drum rhythm emerges, generated by tribal tom tom pulsations and danced over by synthesized idiophones and exotic music box lullabies. Atmospheres of psychotropic minimalism and exotica are repurposes for space age exploration, with flashes of cold blue light moving within the miasma of galactic sound. At some point the mood changes drastically and the air grows humid and tropical as propulsive hand drums pan across the mix. Afro idiophonics are joined by pinging Berlin school arpeggiations and knocking percussive tones while electro-claps crack through reverb caverns and all throughout the mix, bending woodwinds weave rainforest incantations and majestic string hazes obscure the dances of mysterious jungle fauna. 

As far as I can tell, Talisman is the first place “Dreamscape from the Night Kitchen” has appeared and the piece starts with crystalline strands of new age liquid floating within a haze of angel synthesis. Arpeggiations dance through exotic lullaby patterns and hand drums are heard through soft liquid layers while ominous currents of bass energy swell in and out of the mix. Hypnagogic hallucinations and moonlight forest rituals are evoked by ÆOLU’S flute performance as longform breaths of melodic mysticism evolve into sprightly elven dances. Colorful prism formations refract unseen light sources throughout the background, generating chiming decays that flutter through reverb oceans. And there’s a distinct sense of sitting within some spiritual sci-fi cavern where liquids made of glass drop into glowing pools of ether. As the track progresses, it sometimes floats in a relaxing state of hypnosis, while at other times, things move with a mysterious sense of purpose as subsonic pulsations hint at a dark ambient ceremony. Then in “Sunset,” taken from 1989’s The Magician, wisps of white light swim through cricket chirps while a zheng weaves dreamy rainbow incantations encompassing bending plucks and harp-like waterfalls. Spectral vapors move across the stereo field and sometimes blend seamlessly into the continuous insect orchestrations while up above, flutey synths lock into a sequential fantasy bounce. The vibe is transportive, otherworldly, and aligns with the recent work of Meitei in the sense that futuristic atmospheres are transformed into ancient sonic environments. 

Another track exclusive to Talisman is “Embrace,” presented as live version from 1987 in New York City that perfectly exemplifies what a powerful performer ÆOLUS was. Aqueous synth waves splash across the spectrum while a universal hum of drone modulation flows through the stereo field. Bleary piano chords decay over the watery ambiance and their freeform fantasias, atonal note clusters, and gentle jazz adventures drift eternally throughout the track. Heavenly atmosphere flow in, though distorted and threatening to spill over into white light feedback and bass textures grow increasingly present and unsettled…their fast motion vibrato wobbles disturbing the hallucinatory float. Feedback melodies scream across the sky as everything momentarily swells together while elsewhere, mermaid pan-pipes dance through future ocean kingdoms and childlike sea-spirits join the new age sound bath with wordless choral ecstasies that float upwards on unseen sea currents. Eventually, intimately blown flutes journey across the mix with overlapping dream enchantments and fragile melodies that hover in place before dispersing like a mirage. And for the rest of the track’s length, ÆOLUS executes a breathtaking trade off between mystical woodwind magic and shrieking blasts of feedback euphoria…all proceeding through an underwater paradise of pianos, choral arias, and subsuming synth fogs. 

The first reinterpretation of ÆOLUS’ work comes from K. Leimer, who presents his “Temporary & Indefinite” edit of “Environment.” Sequential synth bubbles float through space foam fuzz and Cluster-leaning lullabies are smothered in a fourth world heatwave haze. Controlled clicks, static pops, and unidentifiable scrapes float through that air while industrial hums, factory drones, and machine breaths set the stage for blissed out tapestries of smeared brass and vocals…these wisps of symphonic magic emerging from nothingness and growing into shimmering baths of sonic transcendence, with melodic movements paying tribute to the sunrise. Everything is blurry and indistinct…as if seen through a polychrome fog...while bell tones decay and trace behind them harmonious trails of light. Scraping strings are beamed in from a faraway galaxy and layered cellos sweep the heart to lands of fantasy romance before pulling away into silence, leaving the body afloat in a void of burning ambiance and vibrating metal. Spare shaker rattles hit and percussive detritus floats while orchestral swells grow increasingly distorted, eventually giving over completely to bowed string tonalities. Deep in the ether, tamburas are manipulated into droning insect psychedelia and FM crystals melt into liquid lightforms before everything morphs into a methodical fade out of Indian drone mysticism…like Pandit Pran Nath playing from within a black hole.

It’s mostly been silence from the Pharaohs camp since the release of 2017’s In Oeland, but they make a welcome return here with their “Sadhana Environment (Mana Mix)”. Crashing cymbals introduce sun-soaked folk guitar energetics while tropical bass synths wiggle through water waves and acidic bubbles blow in a warm breeze. Electric guitars loop hypnotically high in the sky before giving way to solar synthesis and layers of hand percussion dance through sea-spray…all while sampled waves crash to shore. Synthetic tones of plucked crystal weave equatorial dream melodies, jazzy acoustic guitar solos move in counterpoint to the jaunty riffs, and heatwave swells cycle all around as feedback tracers drop globs of rainbow glass. At some point, otherworldly vocalisms enter…that characteristic and wholly unique way that Pharaohs uses the human voice…mystical, tribal, joyous…with wordless scats and LSD babbles floating within a cloud of balearic exotica. Electric guitar mantras slide towards the sky over prog fusion basslines and kick drums and crashing static cymbals enter at some point, giving the groove a more defined shape. It’s a swaying jam through aquamarine tide pools, wherein smoldering six-string blues solos are repurposed into island paradise magic while vibrant cymbal splashes and pulsating drum fills join together for a narcotizing ocean jazz groove out.

Dreems’ “Natürliche Liebe” remix of “Sadhana Environment” sees a four-four beat underlying glowing glass windchimes and robotic house basslines, all thick tubular tones jacking upwards. Strange sonic vapors and bodies of incandescent gas flow alongside jungle frog squelches, hand drums bounce off of neon palm fronds, marbles made of electricity oscillate out of control, and glowing hypo-sequences join together with skittering noise textures to generate a double-time pulse while a feverish theme plays out on drunken pad modulations. New age mermaid choirs are transmuted into deep house hypnosis as martial snare rolls portend some dark club explosion, but Dreems subverts this expectation by cutting away all rhythms, instead leaving the body to float amongst silvery chime strands, aqueous bass euphorias, galactic lasers, and deep space spirit communications. Eventually, we flash into a minimal expanse of drug dance magic, wherein kick drums and flubby basslines are accented by rolling hand percussion, pinging echo fx, and fractal smears. Claps and snares give the militant stomp a swinging sense of groove while post-modernist dub panoramas rattle around the mix…a sort of Chain Reaction-style weirdness abstracted even further into extra-terrestrial sorcery. Heatwave pads introduce another rhythmic drop, wherein cave liquids, disjointed snaps, universal bass pulsations, and industrial chants waver through dream mutations. And as a crazed starlight sequence fades in from nothingness, the kicks resume their march beneath post-house cymbal fire and mutant acid stabs.

The final version of “Sadhana Environment” comes in the form of Lieven Martens Moana’s “Oahu Suite,” which proceeds like a hallucinatory collage tied together by birdsong and insect chatter. Contrabass drones fade in from the center of existence and generate waves of La Monte Young-style minimalism, which fade into arcs of bowed metal and space sirens evoking the piercing communications of 2001’s monolith. Scraping textures and feedback noises swim through bodies of water while radiophonic explorations devolve into burning waves of laser light. Sickly waverings and mosquito buzzes flow through tremolo transformations as bulbous bass clouds waver into the void. Shadow visions of hand percussion develop into rainforest drum rituals and Shepard-Risset glissando fx scream across the sky, with everything fading out as soon as it begin. Back in the world of primitive electro-experimentation, caterwauling static blends into dark liquids lapping against an alien shore and vibratory metal abstractions are smothered in ringing reverb as they swell into a towering noise assault, which then gives way to a dreamwaltz through deep sea forests. Machine spirits laugh and sing, pianos are mimicked by ring modulators, and “High Priestess” is evoked through a cloud of smoke while elsewhere, timpani drums, horror string cascades, and marimba exotics are destroyed by blasts of searing noise. Towards the end, we return to the bowed string fantasias…the deep and methodical double bass energies now joined by melodious cellos weaving glorious dawn incantations. And as it all comes to a close, waves crash to shore and birds sing in the sky. 

(images from my personal copy)

Jeff Pearce's latest album reminded me of a strong ambient scene in the USA. Yes, the country possesses many intriguing musicians in the already mentioned genre. However, most of them end up becoming their own niches. I agree, a multitude of electronic musicians eventually achieve this, but American ambient players beat them all in this regard. For instance, Kevin Braheny sadly belongs here as well despite the fact his music needs to be heard more often thanks to some lessons he could teach many of his peers. You see, his tunes have a certain tension, because they feel so airy, most of his works are based on the synthesizers, yet he somehow gets to ground them, though he doesn't settle completely on either of them.

Kevin Braheny - Lullaby For The Hearts Of Space

Steve Roach · Richard Burmer · Kevin Braheny - Western Spaces

(1987, full album)

[Ambient]

Check out Flatlands by Steve Roach, Kevin Braheny, Michael Stearns on Amazon Music

https://music.amazon.com/albums/B000QZUMJ8?trackAsin=B000QMG4DY&ref=dm_sh_lNzLOrdLCahO3wzWRFyLoYrf9

Experimental Electronic and Acoustic Soundscapes 1961 - 88

                                                                                                                          Year: 2017

Label: Soul Jazz Records

Genre: Electronic, Ambient, Space, Experimental

# Tracks: 14

Duration: 1 hour 22 minutes 28 seconds

1. J.B. Banfi - Gang (For the Rock Industry) (6:18) 2 .Michael Garrison - To The Other Side Of The Sky (4:34) 3. Iasos - Lueena Coast (4:09) 4. Carl Matthews - As Above, So Below (4:56) 5. Tim Blake - Midnight (6:22) 6. Stratis - By Water (5:32) 7. Steven Halpern - Starborn Suite (4:47) 8. Laurie Spiegel - Improvisation On A 'Concerto Generator' (3:05) 9. Mother Mallard's Portable Masterpiece Company - Ceres Motion (14:43) 10. Michael Stearns - In the Beginning (8:01) 11. Beverly Glenn-Copeland - Ever New (7:10) 12. Richard Pinhas - Variations VII Sur Le Thème Des Bene Gesserit (4:36) 13. Tod Dockstader - Piece #1 (1:57) 14. Kevin Braheny - Ancient Stars (6:18)

10 Albums to Buy on Bandcamp COVID-19 Fundraiser. They are waiving their revenue share March 20, Midnight to Midnight PT. Here are 10 great albums and musicians you can help out including Yppah, Steve Roach, Stephanie Sante Music, Naneum, David Helpling, Kevin Braheny Fortune, Poliça, Dreaming of Ghosts, Hollan Holmes Music robot kochhttps://wp.me/p4ZE0X-hCh https://www.instagram.com/p/B97km3FnDsK/?igshid=15xn4iaewsbgw

kevin braheny -- desert walkabout