Thanks to Keith’s efforts, we now have a site online for our collaboration project, VR!
Check it out at http://www.vrambient.net
Back at the end of May, I posted that for one month, I would create every day. Make something new… I called this 31 Days of Ambience. I had initially aimed for July, but, you know, life happened. I am however, going to do this for August.
August will not be easy to pull off, I am going on a week-long vacation with family on a lake in the middle of nowhere, I am closing (hopefully) on our new home… and so many other things that can easily push this to the back burner. This shall not rest there, and be delayed over and over.
I vow in August to publish a piece of ambient music each day. It will go here, on BandCamp, SoundCloud, and various FB groups. It will be available on Bandcamp for purchase if you see fit to do so… otherwise, it is yours for free. Do what you want with it. Create new works. It is free for the world to consume, in the spirit of Moby’s Long Ambients1. Like he said “and feel free to share it or give it away or whatever, it’s not protected or anything, or at least it shouldn’t be”. All I ask is a wee little credit line somewhere. Even a mention on twitter is fine 🙂
If for some reason I miss a day, due to, you know, life happening… I will make up for it. I promise. By the end of August, you will get 31 new tracks, ranging from short samples to long form pieces.
Biotic signals and pulsating waves from an alternate reality; featuring tracks by Intersonic Subformation vs Dubtrak, Evadez, Germind, Forrest Smithson, Purl & Sinius, Anaamaly, The Orb, Musical Nature, Sverre Knut Johansen, and Delia Derbyshire Appreciation Society.
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Proud to be featured along such other great artists. Also logged position #16 of the top 25 airplay albums of June 2017!
I recently got married! We had taken care of every detail about the wedding. Centerpieces, layout for the backdrop of the ceremony, pictures, planning for the weekend (it was kind of a destination wedding), water bottle design, and of course, the music.
My (now wife) suggested that we use some of my music… why I did not think of this, remains to be figured out still. So, with a couple of weeks to go, we wanted to create something along the lines of Layers, a music installation.
I had her make some selections, and I did as well, and then I got down into my tracks and split them up to be in a layered format.
I then needed to find the hardware to pull this off. I at first wanted to have the tracks played from wireless speakers, without using a secondary MP3 player plugged into the auxiliary port, but could not find the right stuff.
I finally settled on the DOSS Touch Wireless speaker, with a cheap-ish MP3 player plugged into it. And it worked brilliantly.
Now that the wedding has past, I wanted to share this to my few faithful followers. This album is a modified version of my previous work from Atachafalaya, VR:1, and Eavesdropping – each have been split up into two layers, designed to be played simultaneously from two separate sources.
It is available for Name Your Price on bandcamp only. Pay nothing, or, pay something. You decide…
Enjoy! Let me know your thoughts…
Photo Credit: Nick Inglis
I don’t always do ambient. Sometimes I fool around a bit, and create something completely out of the ambient/ambient house/experimental genres. I guess this could be considered experimental for me, but, I got my start decades ago DJ’ing… so this kind of thing brings me back to those days a bit.
And now I give you, a few tracks from the Torchwood Archive.
Give them a listen, and let me know what you think!
June 11, 2017
Musical Nature is the recording alias of Rhode Island based electronic music composer Geoff Varosky. His latest album, Eavesdropping, features six compositions varying in length from seven to under nine-and-a-half minutes, which notably draw upon the ambient-techno style of music pioneered in the early 1990’s by electronica bands like The Orb and The Future Sound of London. Interweaving what could be described as free-floating background and foreground layers of synthesized textures and environmental field recordings, experimental beats and industrial nuances frequently lend both an edgy crunchiness and contrasting bit of chaos throughout.
The opening piece, “Common Code”, is also the album’s most dreamy and minimal number, characterized by echoing environmental textures comprised of hollowed metallic timbres, synthesized loops and distant muffled voices. Soft pads drift into the free-flowing soundscape that encircles the listener, in which one is solitarily removed from all the human hustle-and-bustle that can be heard just outside of this seemingly dome-like environment. Continuing into the equally dreamlike “Brown Sauce”, distorted signals and unintelligible voices are intercepted along the way by icy shimmers and seagull calls. A processed repeating drum loop accompanies the piece throughout, although serving less as a foundational rhythm and more as an additional textural layer, which lies just outside the bounds of an inner circle as it produces a ping-pong effect across the listening space. Easily my favorite piece on the album, it somewhat recalls The Orb’s “Back Side of the Moon” from their 1991 classic, The Orb’s Adventures Beyond the Ultraworld. “Independence Day” moves into a more urbanized setting with crunchy distortion, amelodic jazz samples and experimental trip-hop beat. The piece nicely segues into “Victoria”, which conveys an underground semblance of industrial machinery that’s highly reminiscent of The Future Sound of London’s 1994 ISDN album. Initially reverting to the dreamier atmosphere of the opening piece, spacey voices and warped sci-fi sounds swirl about “The Tuesday Noon Siren”, eventually giving way to a bouncy, bass-laden downtempo groove. The final track, “The White Horse”, is most similar in composition to “Victoria”, albeit slightly toned down.
Recalling past works by The Orb, Autechre, FSOL and Spacetime Continuum, Eavesdropping is just the kind of album that would seem right at home on the long-standing Warp or Astralwerks labels. Its vividly blurry and beautifully surreal environment is one that seemingly leaves the listener unable to quite figure out where they’re at throughout its journey. An always welcoming and thoroughly enjoyable sound to hear acknowledged and expanded upon, Eavesdropping is especially recommended for fans of any of the aforementioned artists, as well as those who appreciate continually innovative and cutting edge styles of electronic music! ~Candice Michelle
Thank you so much Candice! Definitely give Journeyscapes radio a listen when you have a chance. Candice carefully curates a theme for each of her weekly one-hour broadcasts. Always great to hear old classics and find new music in the realm of ambient, chillout, downtempo, ethereal, new age and world fusion.
Keith Richie and I had a great time working on our first collaboration together on VR:1. So much so, that even during wedding planning and then going away for a week on my honeymoon with my wife, we still found time to get together to start working on our next collaboration album, tentatively titled VR:2.
If you have a moment, please give a listen here (or embedded below), and let us know what you think.
A great lineup of artists were included in the show, and we’re proud to be listed among them!
For more information on Sequences and their podcasts, be sure to check out their site here: http://www.sequencesmagazine.com/
You can find “Echo of a Cloud” at 99.45 in the podcast below.
I bought a Korg ToneWorks AX1000G recently, and the prior owner had a lot of custom settings on it that I needed to erase. I needed this thing back on factory default settings. To do so, you need to do the following:
Hold down the Bank and Exit buttons while turning on the power (as shown below). The unit should display RELOAD? in the display. Once this shows, you can release the buttons, and to confirm, press the Write button. When finished, the unit will display COMPLT when finished.
Ever get an email like that after posting your own music? I get them all of the time. When I first saw this, I was all confused… I knew this was my original work! How can someone else have a copyright claim on my music?!
Generally, it is not something to worry about. If, like a lot of indie musicians out there, you are using CDBaby to distribute your music, you most likely then signed up for Sync Licensing when you distributed your music there. The link there to Sync Licensing will take you to this page under your artist account, which explains more on how it works:
In fact, if you scoll down to the bottom of that page, you will see this important notice:
Important note for YouTube users: If you log into your YouTube account and see a copyright notice next to your videos, don’t worry! CD Baby will collect money for the usage of your music in videos (this includes videos you upload). This notice means the content ID system identified your song and it’s now setup to generate revenue for that video. You don’t need to take action. CD Baby is not claiming ownership of your song.
See? all should be just fine. This confused me when I first saw it… so hopefully this post helps another artist along the way.