Archive for the ‘Posts by BT Fasmer’ Category

I don’t think I am far off the mark when I say that new age music as a genre has an incredible growth potential. In this stressed out world there is a high demand for effective relaxation techniques, and here our genre has a lot to offer.  And it is important to remember that everyone who owns an Enya album is a possible new age music buyer.

When we look at lists on Amazon’s Listmania, it is easy to find playlists where an indie new age music title would fit perfectly! Like on the list to the right.

The hard part is to get music published by indie labels out to people who usually buy music released major label artists. These big labels still have control over the market. But there are ways for indie labels to sell music to a broader audience.

• They can for instance use social networks like Facebook and Myspace actively in their promoting, slowly but steadily building a fan base.
• Another way is to use the web radio medium and lead audience to online services like iTunes. On our New Age Stars radio, we try to play one major and one indie song after another; this gives great PR to the indie song, showing that they are just as good (if not better) than the major.
• And it is of course to link indie new age music to products and services, everything from yoga to massage, from crystals to theme holidays.

This is the dawn of a new age. Prepare to be amazed.

Eric Mouquet, known for Deep Forest (and the more recent Deep Projects), has been in studio with Josh Groban. They have recorded three songs together. As of writing there is not much to tell about these songs, but Eric and Josh have uploaded a video to Youtube where they tell a little about how they work.

I am looking forward to the result, and I am sure you do too. Josh Groban’s music is strictly speaking not new age, and I know that he is not too positive about being labeled as new age either. But he has worked with several top new age producers in the past, like Rolf Lovland/Secret Garden (most famous song: You Raise me up) and now the one and only Eric Mouquet.

One thing is certain: these songs will be great!

Now you can visit tubularbells2009.com, which Universal has just launched. At this page there is an impressive 3D model of the famous bells. And here is a buy link where you can show your interest for the Tubular Bells Ultimate Edition which will be released later this year.  Here is a picture of this new edition.

Fans on Mike Oldfield never get tired of the bells, it is just the way of the world.  Source: Tubular.net.

There is a thin line between music and poetry. A poem can be like music and music can be like a poem or story, even when there are no lyrics or a vocal present. A proof of this is Abandoned Toys’ debut album The Witch’s Garden. Here the listener is taken into a magical fairytale world. This is storytelling without words, it is nothing less than magic.

Abandoned Toys was formed in 2006 by game music composer, Brett Branning.  On his debut album the piano is the lead instrument. It is like the voice that is not there, communicating stories with notes. The song titles, like The great dreaming swan or Where red shadows slumber, give some hints of the stories that are being told. Still, the poetry is in the gentle piano melodies. But just as important is the synth arrangement, which I think is wonderful. Just like a fairytale it has all emotions: it is happy, sad, joyful, eerie, light and dark, all at the same time. Abandoned Toys really knows sound design,  the orchestral arrangement is powerful like a movie score.

The Witch’s Garden is not easy listening. Not at all. It requires active listening, and does not belong in the background. There are a lot of darker passages here that need your full attention. Also there is no rhythm to speak of. But it has a meditative quality that makes it unforgettable, like a fairytale with a surprising end. Put it on, and you will fall into its spell.

Visit  the artist’s homepage for more information.

It is hard to combine chill out with new age. Either the artist creates a song that has the easy listening qualities of chill out, but lacks new age’s special atmosphere. Or the artist creates a song that has the mystic of new age, but isn’t quite chill out. But it is possible to build a bridge between these two genres. A successful example of this is the album Movements by The Nexion Project. It has the best of two worlds, it is like a movement towards the new age of chill out.

The man behind The Nexion Project is Torok Zoltan (see his discography here, which contains an impressive collections 16 albums released since 1999). Movements was recorded in 2005, but is now for the first time being released as a digital download on iTunes Music Store. And it was about time, since this is a jewel, a true find, for fans of both new age and chill out.

And it is, as mentioned above, really hard to combine these genres. Perhaps you remember what happened when Mike Oldfield tried to make a chill out album, the Tres Lunas project. This was for the most part too much new age for chill out fans and too easy listening for the new age crowd (but I liked it though, but just because it was so different from anything else by mr. Oldfield). But here comes The Nexion Project and shows how it can be done.

Zoltan uses lush synth pads, light electronic piano, guitars and occasional flutes. And I must stress that the album is extremely well produced, to the brink of perfection. It is 75 minutes and 10 seconds long, with a total of 13 tracks. Every part of the album is quality, and you won’t hear a single weak melody. It is truly inspired. I can almost not believe that it is mastered by the artist himself, and not a world class producer. It is that good.

The album starts with a track entitled Opening. It is from the very beginning easy to hear that Zoltan is heavily inspired by Enigma (especially the more ambient parts of the MCMXC a.D. album). The only thing missing is Sandra’s voice saying Let the rhythm be your guiding light. But as soon as the second track, Parallel Dreams, starts you hear the difference: the wonderful, chill out atmosphere that is without the depth of Enigma (or depth of new age if you will). A Gregorian chant sample would have changed this in a heart beat, but Zoltan does not use this. And that’s great, since it keeps the mood easy and laid back.

Track three, Twilight, is a little bit darker. The piano sounds fresh, a bit like Robert Miles’ Children. From here on you can close your eyes, and let The Nexion Project take you to the next level of relaxation. Songs like Bodies, Ancient Lullabies and Falling are perfect chill out songs that also have a mystical (yet light) new age element. And, like Enigma’s MCMXC a.D. album, the songs does not tone out, but the next track takes over without a break. Wonderful for relaxation.

The most interesting track on the album is Way of Eternity. It is just as dramatic as the title implies: it reminds of Clint Mansell’s Lux Aeterna from the Requiem for a Dream soundtrack. The song has a marvelous build up. It is hard-hitting, aggressive, yet beautiful.

The last track on the album is The Road Home. The rhythm is easy and the guitar sample sounds care free. It is a perfect ending, in a quiet and slow way. Some might argue that there is not a lot of variation on the album, but I enjoy that it is consistent and complete. You don’t get a lot of surprises, but in a setting like this it is only positive.

Movements is all in all a simply irresistible album, filled with beautiful melodies and light beats. Put it on your iPod, and a dream world of rhythm and movements emerges. It doesn’t get better than that.

Visit the nexion-project.com. On the front page is the link to iTunes Music Store where you can sample the album. The album art is by the artist himself.

Picture copyright BigStockPhoto, Enjoylife

Both in art and in media there is a steady focus on social and cultural differences. It is for some reason more important to describe what makes us different from each other than what makes us similar. The album Kindred by Kevin Wood is a reaction to this. Wood’s message is that we all have a lot in common, regardless of race, ethnicity and religion. With this as inspiration, I guess Kevin Wood had to create something truly beautiful. And yes, he did.

Kindred is Kevin Wood’s third album. Fans of his previous albums, Scenic Listening (2002) and Sacred (2005) will feel at home. This time around there are less Gregorian chants, but a more ethnic approach. Wood has his very own style. He uses rich synth pads, a beat box like drum and additional layers of piano, strings and vocals. It is in my opinion exquisite sound design. It’s on the brink of perfection. Perhaps it is just me – but I think Wood’s synth and drum arrangement reminds of the intro to Bruce Springsteen’s classic Streets of Philadelphia. It is beautiful music with a hint of melancholy.

The first five seconds of the album are very interesting. It is like the artistic technique “in medias res” in a novel; after reading two lines you are in a middle of the story. On Kindred the high-pitched female vocal and the deep synth pads on Adoration create a sudden and intense soundscape. After 10 seconds or so your ears will adjust to it. In a genre where most artists use three to five minutes to build up to a song’s theme, it is refreshing to find an artists who doesn’t waste time. It is a good effect. You only have to listen to it for a few seconds and you know what to expect. Other songs, like The Eternal Return, have a longer build up.

The next song, Strength in Numbers, starts with an ethnic male vocal, followed by an electronic cello solo – and then another male vocal is heard. The theme, played with piano, is very melodic. I enjoy the way the different voices “talk” together, almost creating a conversation in the song. This is especially notable on the third track, Mother’s Love. Here a child is saying something, half singing and half sobbing. Then a female vocal (presumably the “mother”) is answering in a calming way, perhaps saying that everything will be ok. It is not unlike a lullaby. The female vocal is also on the next track, The Eternal Return. I think that these ethnic voices illustrate that all humans share the same need for love and comfort. Music is the universal language, and you can understand it by just listening. It is hard to say if the people of the Amazon would enjoy Kindred – but one thing is sure; since it communicates feelings of love and comfort, it may have universal appeal (at least for everyone used to synth music).

The deep flute on the intro to the song Honoring Tradition, played by Virgie Ravenhawk, is simply fantastic. It is like music from a distant past. Again the use of samples and voices are first rate, and the mix of cello, piano, flute and a guitarlike instrument is as good as it gets.

The best song on the album is Many Voices One Spirit. The piano melody is so lush and beautiful – you”ll want to hit the repeat button after just one listen. The sampled choir sings “kyrie” (but without “eleison”), and then an ethnic vocal is heard. Later on the song there a few Gregorian chants as well. The combination of musical elements is like a melting pot of East and West, past and present; it is Wood”s way of saying that we are all kindred spirits. The meditation version of the song, track 10, is as expected a little longer and slower. And yet again the low-key rhythm fits in perfectly. The two last tracks, Atonement and Reunion, are two dreamy tracks – a nice way to end the album. There is also a bonus track, In Search of Kindred Spirits, from Sacred. And I guess that there is a reason for this; it has much of the same sound, or vibe if you will.

I must mention the phenomenal cover artwork by Claudia Wennberg / oledesign.com. It is the second best photo installment for a new age release I have ever seen (best being the Tubular Bells cover, no surprise there). The hands in the middle almost trying to catch the sun, with the world map and the meditating person at the lake – plus the mountains and the setting sun. It is such a powerful illustration of Wood”s music.

Kindred is simply put an album that all fans of new age music will enjoy. It is relaxing, uplifting and somewhat different. Wood”s uses drums and samples in an original way. And most importantly; it is heartfelt and real.

The kinship of humankind is something we all must cherish.

A frequent criticism of today’s music is that it is soulless and without passion. It is mass produced, uninspired and easily forgotten. Perhaps it is a symptom of the decline of the music industry, or a result of too much computerized music. It is hard to say why, but it is a sorry situation. But then it is even more refreshing to find an artist who creates music rich with feelings and emotions. The album Unbounded by debut artist Marc Enfroy is filled to the brim with emotions of love and joy, but also of loss and grief. It connects with the listener and becomes a soundtrack for both new and old memories. When you press play, it will all come back to you. In this way Unbounded is an incredible release.

Marc Enfroy style can be described as Cinematic Piano. The music is visual, and it makes you think of beautiful sunsets or romantic scenes from movies. It is without a drum beat, like classical music. The rhythm is in the steady stream of tones, sometimes faster and sometimes slower. I am a fan of synths and electronic music in general, and I love the sound on Unbounded; the el piano, synth strings and the other orchestral arrangement (like oboe, cello, crash cymbals and some vocal pads) sound great. Perhaps some listeners would hold that keyboardish sound against the album; it is not as popular as it used to. With a live chamber orchestra and a Steinway piano in the middle, Enfroy’s magnificent melodies would perhaps have had greater appeal. But to me, as a fan of electronic music, the arrangement on Unbounded is more than good enough.
The album consists of 12 tracks, most of them around 4 minutes long. The opening track, Night on the Seine, is a perfect introduction to Enfroy’s style; first you hear the piano, played in a gentle and elegant way. After a minute or so you are introduced to the orchestral arrangements, with several layers of strings and some distant oboes. It is, needless to say, a powerful combination. Here is room for feelings of love or sorrow; it is your state of mind that decides if this music is happy or sad.

In the song’s title, Night on the Seine, is a hint to the Cinematic Piano aspect. When you listen to the song, you almost feel like sailing on the Seine. The boat is silently floating on the river, the warm summer breeze is in your hair and the sun is setting over the glittering water. Close your eyes, and Enfroyâ’s music will take you there.

The title track, Unbounded, is a marvelous track. It starts quietly, slowly gaining more power with both strings and oboes. The ending, three minutes later, has that larger than life-feel, like Chariots of Fire and Conquest of Paradise by Vangelis.

The track number three, The Summit, is a positive song. It has the feel of victory and success, like finally reaching the mountain top after a long and hard climb. There is a very interesting shift of energy around 2min25sec, where Enfroy’s talent is obvious. It has a fantastic ending, filled with positive emotions. I can only imagine how that would have sounded with a full size philharmonic orchestra!

Empire Bluff and Mare Nostrum, track number four and five, are also happy and warm songs. This is music that I think describe the beauty and greatness of nature, either seen from a cliff overlooking Lake Michigan or on a boat on the great Mediterranean Sea.

Kalliopeâ’s Courtyard, track six, has an intro that reminds of classical music, almost like listening to the woodwind section of an orchestra warming up before a concert. The main part of the song is also highly positive. If I were a movie director, I would use this music for the most romantic part of the film. With music like this you don’t need the actors to say the words I love you. It’s already been told by the movie score.

The first time I listened to Unbounded, I had to replay track number seven, Taken Away. I listened to it many times. When I later interviewed Marc Enfroy about the album), I was not surprised to find out that this was in fact the track that started it all. It is so sad and so powerful. It is filled with the feeling of loss, but at the same time an immense gratitude of all the positive memories that will continue to live. Memories in the Sand, Forbidden Island and On to Forever are songs with pleasant melodies. I especially like the sea samples and vocal pads on the intro to Forbidden Island.

The last two tracks on the album, Solitary Journey and Moonlit Dreams, are a little bit melancholic as you can see from the titles. But they are not sad if you don’t want them to. Again it is your state of mind that decides, and I think this is what makes this album great. On Moonlit Dreams Marc uses two new instruments, a low organ and a xylophone (or perhaps the sound of wine glass?). I think the ending is perfect, and it leaves you feeling relaxed and happy.

All in all Unbounded is a truly great debut album. Some may say that it is too much feelings here, too new ageish if you will. This is clearly not an album for everyone. But I think it has lot of potential. Unbounded reminds me of Enya’s piano songs, like From Where I Am on The Memories of Trees (1995) or Miss Clare Remebers on Watermark (1988).

Unbounded’s combinations of piano melodies and orchestral arrangements are perfect for movies, but it can also be the soundtrack of your life. Believe me; you will be moved…