Valley Entertainment

01/11/2024

The Magnificent Void (1996)

Steve Roach's The Magnificent Void, released in 1996 on Hearts of Space Records, stands as a monumental work in the realm of ambient music. This album marked a significant departure from his earlier, more melodic compositions, venturing into deeper, more abstract sonic landscapes. The project was a culmination of Roach's exploration into what he termed "sonic architecture," where sound becomes a physical space that listeners can inhabit.

The creation of The Magnificent Void was influenced by Roach's fascination with the vastness of space and the concept of the void as a place of potential and transformation. He aimed to capture the essence of the unknown and the infinite, using sound to evoke feelings of awe and introspection. The album's expansive textures and slow-moving harmonics invite listeners to experience a sense of timelessness and suspension.

During this period, Roach was deeply immersed in experimenting with analog synthesizers and digital processing techniques. He utilized a combination of vintage equipment and cutting-edge technology to craft the album's immersive soundscapes. The meticulous layering of tones and the careful manipulation of sonic frequencies were central to achieving the album's profound depth and resonance.

The Magnificent Void received critical acclaim for its innovative approach to ambient music. Critics praised Roach for pushing the boundaries of the genre, noting the album's ability to transport listeners to a meditative state. It marked a transition into more profound and minimalistic expressions. Prior to this album, Roach had explored various facets of ambient and electronic music, including tribal rhythms in albums like Dreamtime Return and more melodic structures in works like Structures from Silence.

Thematically, the album delves into concepts of emptiness, infinity, and the nature of existence. Roach intended to provide a sonic representation of the void—not as a negative or empty space but as a realm of potential and introspection. The music invites listeners to confront the unknown and to find solace in the vastness that surrounds and permeates existence. This philosophical underpinning adds layers of meaning to the listening experience, encouraging deeper contemplation.

In interviews conducted years after the release, Roach reflected on The Magnificent Void as a milestone in his artistic journey. He expressed that the album was a breakthrough in expressing ideas that words could not capture, using sound to tap into universal experiences and emotions. This perspective highlights the album's role not just as a collection of music but as a profound artistic statement.

29/10/2024

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29/10/2024

An Exploration of Sound, Soul, and Solitude

David Darling’s 2001 album Cello Blue is more than a collection of musical compositions; it is an emotional landscape that draws listeners into a world of introspection, calm, and profound beauty. Recognized for his genre-defying approach to the cello, Darling creates a unique space in this album where classical, jazz, and world music merge into a deeply resonant experience. Cello Blue would go on to earn a Grammy nomination for Best New Age Album in 2002, marking Darling’s work as a vital contribution to the evolution of ambient and instrumental music.

Cello Blue opens with the track “Children,” which sets the album’s tone with an air of innocence and curiosity. This piece reflects Darling’s lifelong commitment to music as a form of expression accessible to all. Through his organization, Music for People, co-founded in 1986, Darling devoted his career to encouraging people to engage in musical improvisation as a way to tap into their inner lives and emotions, regardless of their formal training.

Tracks like “Prayer and Word” and “Thy Will ‘Not Mine’ Be Done” explore Darling’s spiritual side, where cello and synthesized sounds come together in harmonic layers. This blending of traditional cello with electronic elements is characteristic of Darling’s style, allowing the listener to experience a fusion of old and new, as if the music speaks across generations. His compositions evoke the meditative quality often found in New Age music while maintaining a distinct, classical integrity, showcasing Darling’s skills as both an innovator and a cellist.

The title track, “Cello Blue,” is perhaps the album’s most iconic piece. Inspired by Darling’s admiration for the sweeping, open landscapes of places like Colorado, the track embodies the vastness and stillness of nature. Darling once described blue as a color that represents both melancholy and hope, an idea woven into the track’s rich, sustained cello notes and ambient layers. The music is slow, deliberate, as if mirroring the sky’s calmness—inviting listeners to immerse themselves in an experience that feels expansive yet deeply personal.�
When Cello Blue was released, it quickly resonated with both critics and audiences. Many listeners found solace in the album’s contemplative atmosphere, using it as a soundtrack for meditation or as a reprieve from the noise of daily life. Critics praised Darling’s ability to connect deeply with listeners’ emotions through instrumental music, a quality not always easily achieved. The album’s Grammy nomination was a nod to its unique place in New Age and ambient music, reflecting a time when the genre was gaining more recognition and respect for its artistic contributions.

Cello Blue has had a lasting influence, remaining a favorite for listeners who seek music that offers emotional depth and tranquility. The album’s success can be attributed to Darling’s mastery of the cello, which he plays with a human-like sensitivity, almost as if the instrument itself is speaking. Through this album, Darling created an auditory space that listeners can enter and inhabit, a place where solitude feels comforting rather than lonely.

26/10/2024

A Melodic Tapestry of Jazz, Classical, and World Music

Open Sky: Richard Stoltzman Plays the Music of Bill Douglas stands as a landmark achievement in Bill Douglas’s career, celebrated for its blending of contemporary jazz with classical and world music influences. Released in 1998, this album highlights Douglas's compositions, uniquely arranged to emphasize the distinct, emotive style of clarinetist Richard Stoltzman. Over more than a decade of collaboration, Stoltzman and Douglas developed a deeply intuitive musical partnership, and Open Sky captures this synergy, presenting a collection of introspective, rhythmically rich pieces that continue to captivate audiences worldwide.

The album's 14 tracks reveal Douglas's skill at creating soundscapes that are both intimate and expansive. Each composition is crafted to showcase Stoltzman's expressive clarinet against Douglas's piano and electric piano accompaniments, which offer subtle, lyrical frameworks for Stoltzman's improvisational skill. The interplay between the two musicians shines in tracks such as "Begin Sweet World" and "Everywhere," where Douglas’s piano lines are intentionally restrained, allowing Stoltzman's clarinet to explore the melodies fully. These pieces, like much of the album, are marked by a sense of serene introspection that Douglas is known for, resonating with listeners on a deeply emotional level.

Adding to the album's richness is the contribution of notable musicians across various instruments. Bassist Eddie Gomez provides a resonant low-end accompaniment that grounds many of the compositions, while percussionists like Glen Velez add rhythmic texture, particularly in tracks like “Feast” and “Sky.” These pieces incorporate Douglas’s exploration of global rhythms and harmonies, inspired by African, Brazilian, and Indian music traditions he became interested in during his years of teaching. These elements of world music are woven seamlessly into the compositions, creating a multi-layered sound that is both rhythmically complex and harmonically simple, embodying Douglas’s philosophy of blending diverse influences to create something universally appealing.

One of the album’s standout tracks, "Innisfree," draws inspiration from the poetry of W.B. Yeats, a motif Douglas revisits in many of his works. His fascination with setting poetic and natural themes to music is evident here, as he combines pastoral melodies with Stoltzman’s clarinet to evoke a meditative quality.

The album also features notable guest musicians such as vibraphone virtuoso Gary Burton, whose contributions on tracks like “Primeira Luz” and “It’s Here” add shimmering layers of melody, enhancing the album's ethereal quality. These collaborations deepen the textural complexity of Douglas’s compositions, offering a balanced interplay between Stoltzman’s clarinet and other instrumental voices, such as Nancy Allen’s harp and Chuck Loeb’s guitar, which are used sparingly to great effect. This thoughtful orchestration is a hallmark of Douglas’s work, where each instrument is given space to breathe and contribute to the overall sound.

Open Sky represents not only a pinnacle of Douglas’s work as a composer but also an embodiment of his and Stoltzman’s shared artistic vision. The album has been described as a meditative journey that transcends genre boundaries, appealing to listeners who appreciate the subtle interplay of jazz improvisation with classical structure. This blending of styles continues to draw in a diverse audience, from jazz enthusiasts to classical purists, making Open Sky a timeless work that remains relevant and beloved decades after its release.

22/10/2024

Ambient Legends David and Diane Arkenstone’s Native American Project

Ah Nee Mah’s music stands as a bridge between the ancient and the modern, encapsulating the timeless spirit of Native American cultures while embracing contemporary ambient music. Created by David and Diane Arkenstone, the project is centered on using music to evoke deep emotional and spiritual connections with the natural world, especially the landscapes and histories of the Native American Southwest. Their work is notable for its use of traditional instruments like Native American flutes, drums, and rattles, along with natural sound effects and modern production techniques that blend to create a rich, immersive listening experience.

Before forming Ah Nee Mah, both David and Diane were already successful musicians with impressive careers. David had become known for his new age and world music albums such as Valley in the Clouds (1987) and In the Wake of the Wind (1991), which brought him acclaim for his cinematic compositions.

His work extended beyond albums, as he composed music for video games like World of Warcraft: Cataclysm, and his soundtracks demonstrated his ability to evoke mystical and adventurous realms. Diane had also made a name for herself as a composer and producer, often collaborating with David and focusing on meditative music with themes of nature and spirituality.

The duo's extensive musical background set the stage for Ah Nee Mah, a project that allowed them to explore Native American-inspired soundscapes. They formed the group in 2001, releasing the album Ancient Voices, which featured the evocative track "Echoes of Time." This song perfectly encapsulates Ah Nee Mah’s dedication to crafting soundscapes that transport listeners to sacred lands and forgotten moments. The gentle flute melody in "Echoes of Time", interwoven with light percussion and atmospheric synths, mimics the movement of wind and water, creating a soundscape that feels both ancient and expansive​.

The inspiration for "Echoes of Time", like much of Ah Nee Mah’s music, stems from the natural beauty of the Southwest United States—places like the canyons of Arizona and New Mexico, where indigenous cultures once thrived. The Arkenstones’ music reflects their reverence for these landscapes and the histories embedded within them, using sound to evoke the spirits of those who once walked the desert plateaus.

What makes "Echoes of Time" particularly powerful is its ability to merge the ancient with the contemporary. Listeners can feel the presence of the past, the "echoes" of lives long gone, while also being drawn into the immediacy of the music, which feels vibrant in the present. This duality—timeless yet immediate—is at the heart of Ah Nee Mah’s mission: to honor ancient traditions while creating music that resonates with modern audiences.

Ah Nee Mah’s music is often described as both meditative and cinematic, and "Echoes of Time" exemplifies this. It has been used in various settings for meditation, relaxation, and reflection, often becoming a favorite for those seeking peace or connection with something greater. The use of ambient soundscapes, coupled with traditional Native American instruments, creates a space where listeners can reflect not only on nature but also on the histories and cultures that have shaped these lands for centuries.

19/10/2024

Reviving Hawaiian Slack Key in The 70s

Born into the Beamer family, which holds a storied place in the history of Hawaiian music and hula, Keola was raised with a deep respect for tradition. His mother, Winona Beamer, a renowned kumu hula (hula teacher) and cultural ambassador, was instrumental in shaping his understanding of Hawaiian identity. Growing up in this environment meant Keola was surrounded by Hawaiian chants, music, and the arts, which later influenced his musical style.

However, it was a moment of spontaneity that led him to his life’s passion. At a family gathering under a mango tree in Nu'uanu, Keola first encountered the magic of slack key guitar (ki ho‘alu). That afternoon, the sound of the guitar resonated with him in a way that would shape the course of his life. Slack key guitar, a traditional Hawaiian method of tuning and playing the guitar, became not just his chosen instrument but a symbol of his cultural voice​.

In 1972, Keola released his first solo album, Hawaiian Slack Key Guitar in the Real Old Style, which was instrumental in sparking a renewed interest in the slack key guitar during the Hawaiian Cultural Renaissance of the 1970s. His innovative blend of traditional Hawaiian music with contemporary elements brought slack key guitar to wider audiences both in Hawaii and beyond.

This period marked a time of cultural revival in Hawaii, where there was a renewed interest in traditional Hawaiian music, language, and arts, and Keola was at the forefront of this movement. His innovative blend of traditional Hawaiian music with contemporary elements brought slack key guitar to wider audiences both in Hawaii and beyond.

This album was followed by his collaboration with his brother Kapono Beamer on the 1978 record Honolulu City Lights, which became one of the best-selling Hawaiian albums of all time. The song "Honolulu City Lights" became an anthem for the islands, winning several Na Hoku Hanohano Awards (Hawaii's equivalent of the Grammy Awards), including Best Song and Best Contemporary Hawaiian Album​.

Keola’s contribution to slack key guitar goes beyond performance; he is also a passionate teacher. In the 1970s, he co-founded the Guitar and Lute Workshop in Honolulu, where he began offering lessons in a style that, up until then, had largely been passed down privately within families. His publication of Hawaiian Slack Key in 1977, the first instruction book on slack key guitar, further broadened interest in this unique art form. Keola’s dedication to teaching continues today through workshops, online lessons, and cultural camps​.

Keola’s career has been marked by both artistic and technological milestones. In 1994, his album Wooden Boat, released on George Winston’s Dancing Cat label, reached number 15 on Billboard’s World Music Chart, solidifying his reputation as a world-class musician. In 1995, he made history by hosting the first-ever live Hawaiian music concert online—a "cyber-lu'au," an event that reflected his embrace of both tradition and modern technology​.

Through the years, Keola has remained committed to his Hawaiian roots while pushing creative boundaries. His musical collaborations, including work with legends like R. Carlos Nakai, have helped to blend Hawaiian music with other world sounds, further broadening its appeal. He contributed to the soundtrack of the Academy Award-winning film The Descendants, gaining international recognition for his work.

16/10/2024

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16/10/2024

The Flutes of Coyote Oldman

Coyote Oldman's album House Made of Dawn (1999), evokes themes of renewal and spiritual awakening, drawing inspiration from indigenous philosophies where dawn symbolizes new beginnings and enlightenment. Allen and Stramp believe that fusing ancient instruments with modern technology can reveal deeper truths and emotional richness unattainable by either alone. The music on this album reflects this philosophy; each track is a delicate balance of haunting melodies and atmospheric textures, invoking a sense of timelessness and introspection.

Michael Graham Allen, a craftsman and historian, dedicated himself to the meticulous creation of custom-designed flutes specifically for this recording. Drawing from extensive research into indigenous wind instruments, he crafted flutes using traditional materials such as cedar and river cane, known for their resonant and warm tonal qualities. Allen experimented with various flute designs, including:

Drone Flutes: Featuring additional chambers or tubes that produce a continuous harmonic tone alongside the main melody, enriching the sonic depth.

Anasazi Flutes: Inspired by ancient Southwestern designs, these rim-blown flutes offer a wider range and a more airy, ethereal sound.

Hybrid Flutes: Combining elements from different indigenous instruments, he expanded the expressive potential beyond traditional limitations.

Many of these instruments were tuned to unconventional scales, enabling the exploration of melodies that are both exotic and haunting. By incorporating additional finger holes and altering the bore size, Allen extended the range and versatility of the flutes, allowing for complex melodies and harmonies not typically associated with Native American flute music.

In addition to flutes, Allen utilized other wind instruments such as pan pipes and ocarinas. The pan pipes, with their multiple tubes of varying lengths, added a layered, polyphonic texture. The ocarinas, small vessel flutes with a pure, haunting tone, contributed to the album's diverse sonic palette. Each instrument was carefully crafted and selected for its unique tonal qualities, adding depth and richness to the compositions.

Complementing Allen's instrumental innovations, Barry Stramp, with his background in classical music and sound engineering, employed advanced electronic processing to enhance and extend the natural sounds of the flutes. Techniques included:

Digital Delay and Echo: Creating a sense of space and prolonging the resonance of the instruments.
Reverb and Spatial Effects: Simulating acoustic environments like canyons or sacred spaces, immersing the listener in a vast sonic landscape.
Harmonization and Pitch Shifting: Adding layers of harmonies and exploring different tonalities, blurring the lines between traditional melodies and modern ambient textures.

Stramp utilized these technologies to craft ethereal atmospheres that envelop the listener, allowing the acoustic purity of the handcrafted instruments to shine while expanding their expressive capabilities. This synergy of meticulous craftsmanship and modern technology enabled the duo to create soundscapes that transport listeners to an otherworldly realm.

Critics have drawn parallels between Coyote Oldman's work and that of ambient music pioneers who fuse traditional sounds with electronic music. Yet, the duo maintains a distinctive identity rooted in their deep respect for Native American musical heritage. Tracks like "In Warm Velvet Darkness" showcase the warm, enveloping tones of the custom flutes, while "Emergence" features intricate melodies that weave between the acoustic and the electronic, encouraging listeners to delve into a state of contemplative serenity.

14/10/2024

The Perfect Flaw (1994)

Tim Story’s The Perfect Flaw was released in 1994 under the renowned Hearts of Space label. The album follows Story’s earlier work, Beguiled, but brings a richer, more intricate sound palette to the table. Using acoustic instruments like the piano, clarinet, and cello, alongside synthesizers and electronic sound treatments, it creates a compelling juxtaposition of classical and modern sounds. The result is a blend of ambient, new age, and neo-classical music that evokes deep emotional responses​.

This concept—the “perfect flaw”—is a metaphor for life’s imperfections that can, paradoxically, create moments of profound beauty and meaning. It’s a reflection on the human condition, where our missteps and vulnerabilities often lead to growth, creativity, and deeper emotional understanding. In Story's hands, this philosophy becomes an aesthetic principle: he embraces the dissonant and unexpected in his compositions to enhance their emotional resonance​.

Much like the work of Erik Satie, a composer to whom Story is often compared, the music in The Perfect Flaw is minimalist but brimming with emotion. Tracks such as "A Broken Alphabet" and "Liquid Shadow Night" feature melodies that are delicate and slightly melancholic, but never overly sentimental. Each note feels carefully chosen, as if Story is painting with sound, capturing fleeting emotions and moments of introspection​.

Story’s music, though often classified as new age or ambient, defies strict genre labels. His compositions have been described as “modern chamber music,” due to their complex interplay of acoustic and electronic elements. Pieces like "Lydia" and "The Color of Vowels" are marked by a subtle tension between the familiar and the unexpected. The use of live instruments—like the English horn and cello—brings warmth and organic texture to the electronic underpinnings, while Story’s grand piano anchors the compositions with a classical sensibility​.

The inspiration for The Perfect Flaw also comes from the composer’s personal reflections on life’s unpredictability. Story has referred to his approach as “a desperate serenity,” a feeling that permeates the album. This sense of peace amidst chaos is echoed in the album’s structure: short, evocative pieces that invite listeners to engage emotionally with the music, allowing for multiple interpretations depending on their own life experiences. The album’s fluidity and openness mean that each listening experience can reveal new facets and deeper layers​.

Ultimately, The Perfect Flaw is a meditation on the beauty of imperfection. Just as a single flaw can make a diamond more captivating, Story’s music thrives on the interplay of dissonance and harmony. It’s an album that encourages reflection, inviting listeners to find their own meaning in its quiet elegance and subtle emotional shifts​.

11/10/2024

A Short Story of Robert Rich

Robert Rich's journey into the world of ambient music is a story of exploration, innovation, and a deep connection with the subconscious mind. Born in 1963 in the San Francisco Bay Area, Rich grew up surrounded by the technological optimism and cultural experimentation that characterized California in the 1960s and 70s. From a young age, he was fascinated by the intersection of nature and technology, a theme that would heavily influence his future works.

At just 13 years old, Robert began building his own synthesizers and exploring unconventional soundscapes. His early experiments were less about melody and more about creating atmospheres—sonic environments that could evoke emotions and alter perceptions. This led him to conduct "Sleep Concerts" during his time at Stanford University in the early 1980s. These all-night performances invited audiences to sleep while Rich played continuous, slow-evolving music designed to influence their dream states. Using drones, natural sounds, and microtonal tunings, he crafted an aural experience intended to tap into the subconscious.

These Sleep Concerts garnered attention and set Robert apart as a pioneer in the ambient and experimental music scenes. In 1982, he released his debut album, "Sunyata," a minimalist exploration of stillness and space. The album was well-received among avant-garde circles and established Rich as a serious artist pushing the boundaries of sound.

As his career progressed, Robert's music evolved to incorporate a diverse array of influences, including world music, just intonation, and bioacoustics. Albums like "Rainforest" (1989) and "Propagation" (1994) showcased his ability to blend natural sounds with electronic textures, creating immersive environments that felt both organic and otherworldly.

Robert's work caught the attention of the producers of "Hearts of Space," the renowned radio program specializing in ambient, space, and contemplative music. His compositions fit seamlessly into the show's ethereal aesthetic, and he became a frequent feature. Through "Hearts of Space," Rich's music reached a wider audience, resonating with listeners seeking solace, introspection, or a journey beyond the tangible world.

In collaboration with other notable artists like Steve Roach, Lustmord, and Brian Eno, Robert continued to push the envelope. His 1995 album with Lustmord, "Stalker," delved into dark ambient territories, exploring themes of isolation and the unknown. Conversely, albums like "Seven Veils" (1998) incorporated Middle Eastern motifs, reflecting his interest in global cultures and sonic diversity.

Beyond studio albums, Robert remained dedicated to live performances. He revitalized his Sleep Concerts, adapting them for modern audiences with advancements in sound technology. These events became immersive experiences, often accompanied by visual installations that complemented his intricate soundscapes.

By 2023, Robert Rich had released over 50 albums, each a testament to his relentless creativity and exploration. His influence on the ambient genre is profound, inspiring a new generation of musicians who seek to create music that transcends traditional boundaries.

10/10/2024

Making The Soundtrack for Baraka

In 1992, ambient legend Michael Stearns was tasked with composing the original motion picture soundtrack for the non-verbal documentary film "Baraka." Directed by Ron Fricke, Baraka is a cinematic exploration of the relationship between humans and the environment, capturing stunning visuals from 24 countries across six continents. The film delves into themes of nature, spirituality, and cultural diversity without the use of dialogue, relying heavily on its powerful imagery and evocative music to convey its message.

Stearns was selected for this project due to his exceptional ability to create immersive soundscapes that enhance visual storytelling. His prior collaboration with Ron Fricke on the soundtrack for "Chronos" (1985), a film that also emphasized the interplay of time, nature, and humanity, demonstrated his aptitude for composing music that resonates with profound visual content. This established a strong creative rapport between Stearns and Fricke, setting the stage for their work on Baraka.

In creating the soundtrack for Baraka, Stearns faced the challenge of musically representing a vast array of cultures and environments. He approached this by incorporating a wide range of instruments and sounds from different parts of the world. Traditional instruments such as Tibetan singing bowls, Middle Eastern ouds, African drums, Australian didgeridoos, and Native American flutes were utilized alongside modern electronic synthesizers. This blend aimed to reflect the film's global perspective and underscore the interconnectedness of humanity.

Stearns also made extensive use of field recordings collected from the various locations featured in the film. Ambient sounds like natural environments, religious chants, market noises, and ceremonial music were integrated into the compositions. For instance, the inclusion of Balinese gamelan ensembles and the chants of Gregorian monks added authenticity and depth to the soundtrack. By weaving these elements together, Stearns created a sonic tapestry that paralleled the visual journey of the film.

One of the prominent tracks on the soundtrack is "The Light in the Rain," which combines ethereal melodies with rhythmic percussion to accompany scenes of natural beauty and human activity. Another significant piece, "Mantra," features deep vocal chants and droning tones that underscore the spiritual rituals depicted onscreen. These compositions are characterized by their ability to evoke emotion and enhance the viewer's immersion into the film's themes.

The creative process between Stearns and Ron Fricke was highly collaborative. Stearns often composed music in response to the raw footage, allowing the visuals to inform the emotional tone and structure of his compositions. In some instances, the music influenced the editing decisions, with Fricke adjusting the pacing of scenes to align with Stearns's musical cues. This synergy between sound and image was instrumental in achieving the film's seamless flow.

Stearns meticulously synchronized the music with the film's transitions and imagery. The absence of dialogue placed greater responsibility on the soundtrack to convey narrative progression and emotional depth. His compositions provided continuity across disparate scenes, guiding the audience through the film's exploration of contrasting environments and cultures.

To produce the expansive sound required for Baraka, Stearns employed advanced recording techniques and equipment. He utilized a 32-track digital recorder, which was state-of-the-art technology at the time, allowing for greater flexibility and clarity in layering sounds. His expertise in sound design enabled him to manipulate acoustic and electronic elements to create textures that were both intricate and immersive.