Archive for January 2018 | Monthly archive page
Robert reflects, “‘Sovereign’ is a piece that seemed to compose itself over the course of a few months. It was partly inspired by the number of months I spent in Mozambique and something of the majesty of the land and people – as well as the music I encountered – influenced the entire composition. The piece utilises a large range of analog and digital synthesizers – including a custom ‘vocal’ synthesizer I created with vowel sounds to ‘sing’ the lead melodies that were played in – as well various kinds of hand percussion, vocal sounds, field recordings and much more besides. In the second half the music shifts and the opening melody returns, now feeling quite different against the new form the rest of the music has taken. The feeling that seems to be invoked in the second half is especially important; I’d describe it as ‘otherness.’ Japanese music also influenced this composition, particularly the ‘royal’ aspect of the ending.”
“The Weaver,” the fifth track on Robert Logan’s Sculptor Galaxy, was inspired by an enrapturing experience of the natural surroundings he encountered while working alone at his village studio in the Hungarian wilderness.“The Weaver” – Listen at Bandcamp
Robert comments, “The weather patterns during the piece’s creation were wonderfully temperamental, with some incredible storms rolling in which shook the walls of the room where I created this music. But while those sounds and atmospheres did infiltrate the track’s formation, it was the unusual, wet stillness in the aftermath and quiet observations of plant life and intricate plantal sequences that particularly inspired the feeling behind the piece. Indeed, “The Weaver” has a somewhat different tonality to the rest of Sculptor Galaxy (even though the album is a continuous journey best heard as one long piece) in that it was written note-by-note in a microtonal 31-tone scale system, and an inspiration to its detailed interlocking threads was a book called The Algorithmic Beauty of Plants which explores the mathematical beauty and organisation of plant structures, along with minimalism/systems music. The piece’s dynamics flower in and out in rhythm to organic cycles.”Robert Logan Sculptor Galaxy | CD for $14 at Projekt / Download for $10 at Bandcamp / Download for $9.99 at iTunes
Expose Online wrote: “(Robert Logan’s) disc takes the explorative route in lieu of the predictable, and for that I’m calling Sculptor Galaxy one of the best electronic based releases of (the year).”
After six solo electronic/ambient albums and his 2016 collaborations with Steve Roach (Biosonic and Second Nature, Projekt) Logan’s new album blends unusual electronic and acoustic sources, terraforming bright, melodic molten sound with an enraptured experience of the natural world. Vibrant electronic performances, detailed tone-sculpting, processed natural sounds (captures from Mozambique, Sri Lanka, Pakistan, Hong Kong, Hungarian village life and the UK’s shores), and unusual acoustic instruments inform a musical world of exotic majesty and boundless adventure.
Forrest Fang’s electronic creations are a surrealist blend of processed ethnic instruments and minimalist, ambient soundscapes. His new release, Scenes from a Ghost Train is in stores on February 2nd. We’ve put his catalog titles on sale through 1 am EST, Wednesday February 7th. Click here for a list of all titles.
by Mike G Electronic and ambient pioneer Steve Roach started creating his music during the late ‘70s golden age of analog synthesizers, a time when the digital variety was only visible on the horizon. So it’s refreshing that an album which continues that hands-on tradition, Spiral Revelation (2017), garnered his first-ever Grammy nomination.* Chosen in the Best New Age Album category, the album is crafted almost entirely with modular and stand-alone synthesizers, its sound grounded in the dynamic, spiraling interweave of melodic and rhythmic sequencer forms.
With its analog leanings, Spiral Revelation sounds utterly contemporary thanks to Roach’s technological sophistication and creative maturity. Yet the bubbling, kinetic melodies point to his origins, making it a natural place to begin the story of how far and wide he has travelled.
* Roach was nominated for a second grammy for Molecules of Motion (2018)
Born 1955 in La Mesa, California, Steve Roach self-released his first solo album in 1982. His early music was part of a wider progressive ambient movement that rose concurrently with new age music on America’s West Coast during the 1970s and peaked in the late ‘80s. Although it often intermingled easily with the best of the early new age genre, Roach’s music has always been created completely on its own terms, essentially defining his own genre. He drew upon his unique perspective, deeply rooted in a connection to the starkly beautiful landscapes and open spaces of the southwestern desert in which he grew up, to pioneer the inherently expansive breathing quality of his early releases.
“My life at that time was purely focused on drawing out an inner voice that had been building over many years: a feeling born from my immersion in the quiet spaces of the desert environment,” Roach reflects. “I could channel this feeling, this expansive atmosphere and blooming inner awareness. I was uncovering and discovering a palpable sense of stillness emanating from a soundcurrent of ‘silence.’”
Today, with a passionately prolific drive, Roach stands among the giants of modern ambient and is one of the most respected electronic musicians in the world. His discography is enormous with well over 100 releases. All of it is “ambient” in a way, but it’s better understood by singling out three major strands in his sound.
Firstly, there is the deep inspiration Roach draws from the German and European electronic space music tradition. You can certainly hear the legacy running throughout his work from Now (1982), Empetus (1986), Skeleton Keys (2015) and most recent Spiral Revelations (2017). There’s a through-line in these releases, where patterned, sequencer-driven music activates the consciousness with an invigorating sense of heightened perception; emotional and mind-expanding spiraling mandalas of sound are made from interwoven tapestries of melody, rhythm, tone and musical space.
A second strand present in Roach’s releases is floating ambience inspired by a sense of environmental space, time-expansion and silence. These diaphanous chords and suspended harmonics were first heard on his meditative masterpiece Structures From Silence (1984). Here and elsewhere in Roach’s rich oeuvre are outstanding examples of the evolving “breathing chords” central to his ongoing quest to humanize the music and release his machines from their mechanical moorings. This extraordinary sense of natural breath is an organic quality not easily realized with synthesizers. Diverse examples can be heard on the 3-CD Quiet Music (1986), the 4-cd opus Mystic Chords and Sacred Spaces (2003), running right up through the recent Nostalgia for the Future (2017) and Long Thoughts (2017).
Thirdly, there is an intoxicating tribal-ambient strand that runs deep in Roach’s music. On his recordings from the ‘90s he pioneered this subgenre, a dark electro-acoustic hybrid that today commands a devoted underground following. It all started with the epic Australia-inspired double-LP Dreamtime Return (1988) forged with tribal percussion, warm washes of synthesizer and location recordings of indigenous music and instrument samples. Later on came a number of benchmark collaborations with the shamanic Mexican musician Jorge Reyes such as Earth Island (1994), and his work with percussionist Byron Metcalf on eight releases including The Serpent’s Lair (2000) and Monuments of Ecstasy (2015). It’s dark-edged global exotica enveloped in Roach’s widescreen soundscapes.
At a Steve Roach live experience you might be fortunate enough to hear all these strands in a single show. Roach is an artist in his element on stage; from the very beginning of his career he has presented live electronic music in venues around the world, bringing this sound to life in the present moment with all its complexity, emotion and visionary nature. Roach invites the listener’s adventurous spirit to surrender to the dynamic journey that unwinds with power and grace. Whether it’s large scale shows in cities like San Francisco or Los Angeles, or more intimate performances in his hometown of Tucson, it is a remarkable immersive soundworld performed in real time. There is something deeply elemental about it; a sounding of the earth and the cosmos that’s been rendered into tones, visuals, and emotions that can be felt viscerally.
Always reaching towards what’s next on the horizon, Roach refuses to be tied down in any one stylistic direction. His worldwide audience continues to grow, and his innovations continue to inspire new and long-time listeners. Listening to a Steve Roach album, you’re hearing the momentum of a lifetime dedicated to the soundcurrent, an artist operating at the pinnacle of his artform, with dedication, passion and an unbroken focus on creating a personal vision of electronic music. Roach’s hypnotic swirl and kaleidoscopic sounds makes Spiral Revelation unlike anything else nominated for a Grammy this year and quite possibly, any previous year. It’s just one facet of a multi-faceted soundworld that stretches back four decades.
Welcome to the vortex.
• Feature article in the San Diego Union Tribune. • Radio interview on Tucson NPR’s Arizona Spotlight. Edited interview within the show in the top podcast, full interview in the podcast below. • A page on Steve’s upcoming February 2018 live appearance in Tucson, here • Projekt’s original Grammy-nomination post, November 2017 hereExtended Steve Roach interview:
Steve Roach hour-long interview podcast with Echoes. “As he’s just been nominated for a Grammy Award, I thought it would be a good time to talk to Steve Roach, the critically acclaimed electronic music artist who has released over a hundred albums since his debut in 1982. But his 2016 album, Spiral Revelation, is his first ever nomination in his 40 year career. He’s in the New Age category alongside Brian Eno, Kitaro, Peter Kater and inexplicably, India.Arie. Unlike other Echoes Podcasts, this is pretty much a raw interview in which Steve talked about the Grammys, his musical process, and his guilty music pleasure.”