Interview With Oscar Aguayo of Australis
John P. Olsen, contributing author for newagemusic.nu has conducted an interview with composer and producer Oscar Aguayo, having the artist title Australis.
John : Oscar, could you tell our visitors a little about yourself and your musical background ?
Oscar : I was born in Peru a few decades ago, the oldest son in a family where music-playing was part of everyday life. My earliest memories are crowded with images of my mother at home playing the guitar while singing, and the alien mixture of emotions I experienced from those songs.
You see, my mother’s songs weren’t children songs designed to expose children to a reduced, predigested set of emotions. Instead, she used to sing “adult” songs that dealt with all feelings, most of them completely unknown to me at three years of age.
I think about this frequently. Judging by how deep those memories are anchored in my mind and by the unique taste they still have to me to this day, I have to assume that although my conscious mind was confused by the unknown feelings conveyed by my mother’s singing, my subconscious must have been breathlessly making associations, creating patterns; interpreting the meaning of those melodies from what I perceived in my mother’s voice and facial expressions, experiencing brand new emotions not from life but from her music.
Whatever the explanation may be, since as far as I can remember I experience music as a language born from emotions with the purpose of transmitting those emotions to others.
John : You currently have 2 New Age / Ambient albums available for purchase. Lifegiving from 2005 and your most recent, The Gates of Reality from 2008. What awards and recognition have you received from these 2 projects at present ?
Oscar : Lifegiving earned me the “Morpheus Music 2004 Best Independent Artist” early in 2005. Several tracks from it have been selected to be included in several compilations from the US and Europe; and additionally, the entire disc was licensed for re-release and distribution in Asia by an international label.
The Gates of Reality is still too new to have earned any awards to this date, although it is already reaching the same level of popularity of its predecessor.
I have to admit, however, that no award or recognition can compare to the fulfillment experienced when you learn that your music has touched somebody. No public award can match that kind of personal satisfaction.
John : How would you describe your music to someone not familiar with your very unique style of music ?
Oscar : That’s a very good question because every person understands music in their own terms. Everybody tries to come up with names and words to define music, everybody tries to define its genres and to delimit styles within those genres despite the fact that music is unique to each person. So, how to describe my music when my description represents only my personal perceptions?
Even when in the most broad level my music falls within what we currently know as New Age / Ambient, I still want to avoid subcategorizing it. Instead, I would try describing it by its intentions: to challenge the mind and captivate the heart, to seduce the listener to explore their own emotional universe, to provoke their imagination and awaken their memory.
With that as a foundation, I would add a brief description of its acoustic elements: an amalgam of spacious evolving pads, seductive exotic rhythms, evocative atmospheres and aromatic melodies. Then I would finish adding that my music is composed as a reaction to whatever emotional stimuli I am experiencing at that moment. In other words, each track originates as a response to a real feeling or set of feelings I am going through.
John : Could you explain the circumstances or reasons for becoming a musician, and why you choose New Age music over all other genres ?
Oscar : In all truth, I am a latecomer. You see, although I was exposed to music since birth and developed an intimate relationship with it since very early in my life; mine was a conservative family. The world of professional music was perceived – and with good reason – as a morally risky environment and therefore my parents never encouraged me on that direction. It wasn’t a stern prohibition, of course, and I was still able to compose music and create a few bands during my teenage years, gaining stage experience and musical proficiency along the way. However, the idea of pursuing a professional career as a musician was never serious at home, and even years after I moved out to live by myself, I never saw myself as one. That was until my father passed away eleven years ago.
Without going into details, all my perspectives changed after that event. The meanings of every aspect of life shifted under my feet and I started to discover that many of the things I thought were important, actually weren’t; and that many areas I took from granted and regarded as trivial were actually the ones that give substance to life. In the middle of this process, as things were falling into their new places it became clear to me that music was much more than just a fun hobby. I found there was so much to say through it, but so far I had never taken it seriously enough. That’s when I started considering composing and producing music professionally.
To answer the second part of the question, I don’t think music genre is as important as the messages and the emotions you as a composer want to convey. And since the range of human emotions is so wide, choosing New Age was more of an evolutionary process than an intentional one for me. I’ve composed in many different genres since the age of twelve and it is my personal opinion that New Age is the only musical genre that doesn’t impose creative parameters on the composer. In that sense, I think New Age is the less defined genre of all, providing the composer with an unmatched freedom of musical expression.
John : Since genre is not as important to you, than the emotions you want to inspire for your listeners, What emotions can one expect to feel from your music ?
Oscar : This is an interesting question. At the beginning I assumed my listeners would experience the same emotions I experienced when composing a particular piece. If I felt specially moved by something, I would translate those feelings into a musical piece and was sure that whoever listened to it would be moved in similar ways. I’ve learned soon that is not the case, though. The truth is that every person has their own unique emotional structure, and although we all coincide on the generic emotional levels, our interpretation of more specific emotional stimulus is very personal. So, even when I can speak about the emotions I convey through my music, I am simply unable to speak about the emotions listeners will experience from it. Of course, there’s nothing extraordinary in my emotions. They are the same we all experience: the many contrasts of love; our enduring hopes; the deep fears of our times; the numberless little joys of everyday life. The passion in our hearts; our endless curiosity; our desire to explore and to find things bigger than ourselves. The darker angles of our souls can’t be excluded: our shortcomings and selfishness; the secrets we keep only to ourselves. My music originates from all of these emotions.
On the listeners’ side, I will always defend their freedom to experience my – and all – music in their own unique ways, to extract from it the emotions their hearts need and enjoy.
John : Can you describe what your albums are about, or can you share what thoughts and experiences from your homeland come to mind for each of your 2 albums : Lifegiving ? and The Gates of Reality ?
Oscar : Lifegiving is a free compilation of the varied tracks I composed when I redefined my own musical intentions. It felt so incredibly good to musically express myself in complete honesty that I just let myself go. In fact, the album’s title came from the concept of a birth, an act of giving and receiving life. The result is an album where each track is its own little world.
In contrast, The Gates of Reality is a more intentional work. In 2005 I finished Lifegiving very aware of the role imagination plays in our daily lives, very interested in how our unique perceptions affect our personal understanding of the world around us. Love, hate, hope, desolation, peace, war, faith, disbelief; all of our emotions are the result of our perceptions, and our perceptions are the result of the interaction between intellect and imagination. It quickly became a set of concepts worth of exploration. It took me three years to finish.
as far as I can remember I experience music as a language born from emotions with the purpose of transmitting those emotions to others.
John : Oscar, you have said in the past that music has the ability to break political and social barriers. I understand your comment somewhat, but what exactly did you mean by that ?
Oscar : I mean that beneath our external labels we all need the same things. We may not speak the same language, we may live within countries in conflict with each other, we may have inherited the external characteristics of a particular race, we may belong to particular social groups and sympathize with particular political points of view. But no matter how different or incompatible we could seem to be towards each other, we all have a heart that feels and loves, that fears and hopes.
That’s where music plays a unique role. We may be unable to speak to each other, we may find ourselves unable to overcome our external labels – of race, of patriotism, of ideology – in order to communicate with each other in good faith; but we are all susceptible to music. We may come from centuries of injustice, or from ephemeral conditions of privilege; but we are all vulnerable to music because music ignores the superficial areas of the human condition and goes straight to the deep ones, the ones that are common to everybody.
In this sense I’ve had the honor of having personal communication with listeners from both sides of armed conflicts and with listeners from religious groups incompatible with each other; and share their thoughts and dreams and hopes, all as a consequence of music.
I think as a sentient species, we are still very primitive. Our technology may be very advanced and our knowledge very vast; but we still have to learn the basics. We are able to take a humans beings to the moon, but we are unable to feed the poor in our own cities. We have harnessed the power to destroy our own home planet, but we are still ignorant on how to live in peace among ourselves.
Yes, we are very primitive. And it will be a very long time until we learn the basics. Fortunately, we have music to help us blur the many imaginary lines that separate us from us.
John : Recently a fan of yours posted a comment on my review of The Gates of Reality, and said : ” Let me comment that this ( Australis ) is one of the best musicians I’ve ever heard. ” Since this person will likely be reading this interview too, how would you respond to the person who posted this comment ?
Oscar : I would start expressing how deeply honored those warm words make me feel. I would want that person to know how grateful I am that my music appeals to their soul and that they took the time to express that on your review. Nothing motivates the independent musician better and deeper than knowing his/her music has moved somebody. It is a concept hard to explain unless one understands what “independent” means in the music industry.
If you compare the world of professional music to an ocean, an independent – in other words, “unsigned” – artist is someone who sets to cross the Atlantic on board of a minute canoe. While “signed” artists make the same trip on board of a cruise with a crew of people paid to drive the boat, the independent musician is usually alone and depends absolutely on his/her own devices. Most likely, he/she won’t make it; but he/she tries nonetheless. His progress, if any, will be discouragingly slow. The independent musician must absolutely love what he/she is doing, otherwise who would voluntarily decide to embark into such an unfavorable endeavour?
That is why comments like the one you mentioned are so meaningful to the independent musician. They make you realize you are not alone in the middle of a dark ocean on a reduced piece of wood keeping you afloat, but that you in the company of countless other human being sailing their own dark oceans by themselves. Suddenly everything takes deeper meanings and you know you are in the right path; all because of comments like those.
If I felt specially moved by something, I would translate those feelings into a musical piece and was sure that whoever listened to it would be moved in similar ways.
John : Is there anything you would like to discuss or tell our readers, that I have not asked or brought up during our interview ?
Oscar : Only that I appreciate very much this opportunity to share with you and all your many readers my personal impressions about so many subjects.
As I tried to say earlier, the listener is what makes all the difference for the composer. Believe me, I’ve composed private music for decades. It is only when the composer interacts – musically or verbally, like through your interview today – with the listener that everything starts to make sense.
On that subject, let me invite all of your readers to visit Australis official website for the newest material and latest news, at:
- australiscanticum.com
- Also, I’ve finally opened accounts on Facebook and on Twitter where behind scenes details are posted several times a day. Please feel free to drop by and say hello.
John, again, thank you very much for inviting me.
Interview with Salva Moreno of Psicodreamics
John P. Olsen, contributing author for newagemusic.nu, has conducted an interview with Salva Moreno of Psicodreamics about his New Age music projects for our visitors below.
John: I am glad to have this chance for our visitors to learn more about the man behind the music of Psicodreamics. After doing my recent reviews of your Fantasynth and Ambiethernum albums, it is great to talk with you again Salva. You are recognized as the emerging New Age artist in Spain. Why did you begin your career in New Age Ambient music?
Salva: In the 1980′s I was excited about Fantasy tales, Legends and Mythology and I enjoyed the excitement involved with these themes. In addition I discovered musicians like Constance Demby, Enya and Vangelis, and I realized this kind of music was like a soundtrack that made myself imagine adventures in a world of fantasy. Then I decided to create my personal fantasy music world taking New Age music like a seed in my music career. New Age was an interesting starting point, but during the last years, I have been developing my own style closest to Ambient and Chill Out with a little bit of Goth flavor.
John: You have worked on several projects with other international musicians. Who are the artists involved and what were the projects you did together?
Salva: I have collaborated with many musicians all over the world. I remember my first one with the USA artist Frances Lyons, a.k.a. Godot, in the track The Gift, included in my album Eternal Angel. She composed a beautiful piano melody in her studio for me. I was mysteriously charmed by this incredible track when I listened to it for the first time. Then I requested a midi file of the song to develop with ethereal choirs and effects. We both enjoyed the final result after airing in the radioshow Blue Water Drift Dive, hosted by Darrell Burgan. I will never forget that experience.
One year after, I collaborated with Gothic songwriter Priscilla Hernandez in the track Morning Light, and electronic artist Alidan with the track The Garden of Strange Beings, both songs are included in my album Azhdark Passion. Finally, in my 2006 release Theatre des Vampires, it was an honor to include Ramon Mendigorri, playing the electric guitar on the track Theatre des Vampires and Nestor Mora, a.k.a. Rosten Jim, collaborating in Daylight Belonging.
John: The Theatre Des Vampires and Ambiethernum albums have both received considerable air time with online radio stations, even before their actual release. Are they your most successful albums to date?
Salva: Yes they are. Theatre des Vampires and Ambiethernum are what I consider the best ambient space music of Psicodreamics, and have been a great success in radio air time, magazines, and sales. For instance Ambiethernum was included in the charts of New Age Reporter during six consecutive months and the long running New Age radioshow Hearts of Space, hosted by Stephen Hill aired one track of each album last year. Recently my brand new album from 2009 Fantasynth, has debuted in many radioshows like John Diliberto’s Echoes, and many more. Now I am waiting anxiously for my first debut on your station New Age Stars, for feedback and opinions from your listeners.
John: Many other people have tried to describe your music, including myself, so what would be your own description of your music when describing to another person?
Salva: This is the million dollar question John. I have always had a problem defining my own music. I use one or two brief sentences to define my music very quickly: Discover mythology through the music, and emotional melodies for dreaming. I could make an even more accurate definition: An Ambient music soundtrack inspired by Fantasy tales and Mythology, with a light Gothic touch.
John: When composing and performing your music, what is your intent, or what thoughts and images are you trying to get across to the listener?
Salva: I usually compose music inspired by fantasy themes. Each album has a title or a main theme that makes people know an initial idea or a first approach to the album. Nevertheless, music is a mysterious language that a listener can experiment in different ways. I think the music is a vehicle to set the imagination free, and I want the listener tho have all the freedom there is to imagine.
I use one or two brief sentences to define my music very quickly: Discover mythology through the music, and emotional melodies for dreaming.
John: When you first begin composing an album, do you already have your mind set on the material contained in an album, or do you compose the album during production only?
Salva: Sometimes I have a general idea before starting a music project, then I begin to develop it during the production process. With others, I can find inspiration when I play the keyboards and then listen for some ideas to develop. There is not a systematic way to create an album. The creative process is a mysterious thing and you know how I enjoy mysteries.
John: You said that you create Fantasy and Myth inspired projects like Theatre des Vampires, that I will review soon, so what first influenced you to compose Fantasy and Myth theme oriented music ?
Salva: Like you and I have discussed, I am a great fan of Fantasy and Mythology themes, and years ago I decided to create my own music world to feel fantasy in a personal way. For example: I have composed albums inspired by mythological beings like angels, as in Eternal Angel 2003, and vampires as in Theatre des Vampires 2006, all inspired by fantasy books like Tanith’s Lee’s Night’s Master, evident in my 2004 Azhdark Passion album.
John: You currently have 9 great albums available and have told me about using video material soon, and plans for changes on your already beautiful website. Could you give us some details about your future projects you have planned?
Salva : I have many projects in mind but not much time to start them. Recently I have released a new album titled Fantasynth and now I want to take a brief parenthesis in composing music until the end of 2009. During the rest of the year, I have scheduled development of my visual art, creating some music videos. I have also planned some projects for 2010 or 2011, of J.R.R. Tolkien, Silmarilion, and other books inspired by fairies.
John: Fantasynth is the latest release you are promoting and have stated it is designed for persons who are non conformists to most commercial music. What does Fantasynth have to offer, and what thoughts or emotions do you want to allow a listener to feel?
Salva: Yes, that is right. Fantasynth is an album that fuses genres and styles as different as Ambient, New Age, Down Tempo, and Chill Out, mixing not only Ethnic and Symphonic instrumentation and orchestration, but synthesized sounds and effects on a more actual and innovatory musical outlook. This album is specifically indicated for non conformists that refuse commercial tendencies and look for something more in their music. This album is an invitation to dive into a new world of fantasy and imagination, where contemporary instrumental music blends with rhythm and percussion in a feast of sensations and emotions. I try to surprise my fans who follow the musical adventures of Psicodreamics, and hook those people listening for the very first time. It is not just another musical adventure for dreaming while you are awake, but a festival of emotions and fantasy where sound and rhythm will seduce your inner soul in a frenetic dance with a unique purpose: Recovering the innocence lost since our childhood.
John: Is there anything you would like to comment on that I didn’t ask in the interview Salva ?
Salva: I would like to invite your readers to visit my website psicodreamics.com and myspace.com/psicodreamics and discover more about the musical projects of Psicodreamics. They are also welcomed to listen to all of my albums on the website. Purchases can be made through CD Baby, and the best digital download sites like iTunes, Amazon mp3, Napster, eMusic, and Rhapsody, among others.
John: Thanks you Salva for finding time to give everyone insight into your music, and sharing your thoughts. I have enjoyed our past conversations, and look forward to writing about your music in the future.
Salva: Thank you for this interesting interview, and for your great website devoted to New Age music, and your visiting fans.
Interview with Marc Enfroy
Marc Enfroy’s new album Awakening will be released on June 16, 2009. Below is BT Fasmer’s interview with Marc about the upcoming album.
BT Fasmer: First, welcome back! When we did the interview with you in August last year, Unbounded was just released and you were an unknown artist. Now you have won the NAR 2008 Best Neo-Classical Album award, and the album has become a major success. What is your reaction to all of this?
Marc Enfroy: Thanks BT. It’s always fun to be here with you. As far as Unbounded and the NAR award goes, I certainly wasn’t expecting the kind of response I’ve experienced. As an artist, you hope that your music will strike a chord with people and that you’ll find an audience.
As you know, my music leans more toward classical music or a film score so I wasn’t sure how well it would do in the new age market. Plus, there’s an over supply of piano music covering every imaginable niche: new age piano, instrumental piano, romantic piano, solo piano, piano for massage, piano for wedding music, piano for stress relief, piano for meditation. People have even written piano music to play for your pet. So I wasn’t really sure if my music would stand out enough to get noticed. In the end, I just wrote heartfelt music that I liked and hoped other people would like it too.
Somehow, the music found an audience and so I’m really grateful for that.
The other thing I hadn’t anticipated was how many people would connect with the story behind the music. As you well know, when my sister Suzanne passed away in 2006 from skin cancer, I wanted to follow in her artistic footsteps and started teaching myself to compose music. Countless people have told me that they are either in the throes of battling cancer or lost a loved one to the disease and they say things like, “your music gives me strength” or “there’s something indescribable in your music that touches me.” I had no idea it would have that sort of impact. It’s like we all share a special, almost mystical bond through the music.
So all in all, it’s been a very enlightening and uplifting experience.
BT: Your new album, which will be released June 16, 2009, is entitled Awakening. Here you are accompanied by three fine artists: vocalist Jillian Goldin, flutist Jack Chen and violinist Janet Sullins. Recording Awakening must have been quite a different process from the previous album? Is it also a cinematic piano album?
Marc: Yes it’s still cinematic piano music although you’ll hear other instruments taking more of a lead role. That made the creative process quite different. With Unbounded, it was just me and my keyboard. I’d first write the piano part and then layer on other sounds. When I started working on Awakening, I knew I wanted to take the sound to a new level by incorporating different acoustic instruments. So in many cases, I’d write specifically for that instrument as the lead with piano providing the support. Also, I can’t read music so I had to figure out how to write music charts for various instruments that would be recorded in studio. To do that, I wrote the music for each instrument on my keyboard and figured out how to use software to translate the performance into sheet music.
The other aspect that was new to me was selecting which musicians to work with. Thanks to the Internet, I found out about Janet Sullins and was excited to learn that she lived really close by. When I contacted her, Janet was really open to working on the project. Then for the flute, that was an easy decision because I had met Jack Chen through Tim Janis and had also seen him perform last Fall. From the moment I met Jack, I knew he was a really great guy and would be fantastic to work with. I also wanted to try some ethereal voice on the album and discovered Jillian Goldin last Summer on the radio. I immediately fell in love with her voice so she was the first person I thought of for vocals. Did you hear she’s getting married soon? She’ll be Jillian Aversa.
BT: Tell us about how the album was recorded. Have you had any help with mixing and mastering?
Marc: Where to record was a big question for me, especially for the violin. A contact at the University of Michigan school of music recommended Solid Sound Studios since they record a lot of classical work in addition to popular music. When I heard that Tori Amos, Norah Jones, Willie Nelson and Art Garfunkel had recorded there, I figured it might be good enough for me (laughing). Seriously though, the process of hearing music you’ve written performed by a world class musician is incredible. We had a great time in studio with Janet and it was an awesome learning experience for me. A few of the songs have parts written for a violin section so poor Janet had to play the same part over and over in many cases but she was a real pro about it. It took 3 separate recording sessions to get it all done. When we were done recording the final take of the final track, we played a little prank on Janet. We pretended she had to record one more time and then blasted some Evanescence drama rock into her headphones. She was looking at us like, what the heck? The best part was, after her initial surprise, she started improvising on the violin and it sounded fantastic. If I can find the video I’ll post it on my website one of these days.
Here are some pictures from the recording:
Then for the flute, Jack Chen was a real workhorse and banged out numerous takes of 7 songs in a single 5-hour session at Sound Market studios in his home town of Halifax. That’s in Canada for those of you who struggle with geography like me. The next day I was downloading Jack’s tracks and adding them to the mixes so it all went really quickly. Jack was really helpful when it came to assessing the mixes and being another set of ears. He’d listen to a song and have one of his engineer pals listen as well and then come back to me with suggestions.
For the vocals, Jillian was really easy to work with because I didn’t have to produce any sheet music, just a recording of the notes to sing. She’d record the tracks in her studio and email them back to me to drop into the mix. Jillian is on two tracks, “Before the Dawn” and “Maiden of the Morning Star.” Her interpretation and pitch are phenomenal. I’d like to work with her again in the future…well not just her. Jack and Janet too.
So I did all the mixing work but mastering I leave to a pro since it takes a special talent. Hans DeKline mastered Unbounded and I was really happy with the results so I used his services again for Awakening.
BT: Ok, here is a big one: What are your thoughts on the spiritual significance of music – and how does this affect your creative process?
Marc: Have you been hanging out with Justin St. Vincent lately? I just wrote up a little piece on that very question. You can read it at this link. In short, regardless of who you are or what you believe, I think there’s a place in every person that only music can reach and when it grabs you, it’s a spiritual event. I don’t mean that in a religious sense. It’s more like a deep emotional sensation that only music can create within the human spirit. When I’m writing a piece of music, I’m on a search for a combination of notes that creates a deep response within my core. When it does, I run with it.
BT: You are an independent artist. After all this success, will you still stay independent?
Marc: I’m no expert on the business side of things honestly. I might see if an indie label wants to pick me up just to see what would happen. Everything I’ve heard and read says that there’s no real advantage to being on a label these days. I just haven’t researched it enough to know if that would be true in my case.
BT: Thank you for the interview, Marc! Best of luck with the release next month.
PS: If you go to Marcenfroy.com you can hear some nice clips from the new album!!!
Interview with Vicki Logan
Below is John P. Olsen’s interview with new age music artist Vicki Logan. Also see his review of her album The Journey to the Places in my Soul.
John P. Olsen: I understand you did not receive formal piano lessons, do not read sheet music, and play practically everything by ear, which will be surprising to many people. How is it that you are able to compose such beautiful and creative music ?
Vicki Logan: I honestly wish I knew. I’ve been asked that question for years and I still don’t know what to say. I can sort of explain the process though. (And yes, I do everything by ear, so to speak. Anyone I work with can attest…I “push the buttons and just do my thing!”)
I’ll sit at the piano and start messing around with the keys. Something will hit me just right and all of a sudden, I know what I want to play and how the whole song should be. I’ll record the base piece (usually some type of chord progression) and start layering a melody and other sounds to “paint a picture”. I never really know how it’s going to sound until the end. I’ll “dial-a-sound” on my synth and then something new hits me. Even after a song is supposedly finished, I could do more to it. I don’t start with an idea and a song doesn’t have a title until it’s completed and I listen to it. Whatever it makes me think about, that’s where the title will come from. Yes, I know. I’m backwards.
When I record the actual album, I’ll play the parts in a demo and bring that demo into the studio. I’ll record what I can and then hire other musicians to play the parts that don’t sound right on the synth. These musicians get free reign to add their ideas to the material since I don’t know what the real instruments are capable of doing, although I do have final say. For example; guitars can bend a note when a string is slid up or down on the neck. I can’t do that with my keyboard. The song, I find, is only enhanced by their performances…as it should be. This is where it’s true “life” comes from. That’s why I’ve reverted back to playing with other musicians rather than letting people record things digitally; making the song “perfect”. Computers are wonderful tools, but, in the end, there just isn’t enough that can be said about the performers. The feelings/emotions and oopses are priceless!
John: Many of your songs and albums have been recognized on New Age music Charts, plus you have helped many musicians just starting out as artists. What song and album awards and personal recognition have you received as artist yourself ?
Vicki: This is going to seem really disrespectful, I know, but I really don’t intend for it to be that way. I have received a lot of honors and awards from various organizations. I’ve won some song contests. I’ve been truly honored to receive these awards, and, for the most part, they were given to me in good faith, but, the more involved I’ve gotten within the music industry, the more I’ve found how political they are. For example – The Grammys. First off, you have to be a NARAS member. If you are not, you can’t even submit your material for consideration of any award. Next, if you do get in, you have to compete against the larger corporations who belong and have several of their staff as members as all members vote on the Grammy Awards. You can guess where those votes are going to. And then, there is a lot of “vote for me -s” e-mails that percalate to members. In the end, the memberships to these groups are expensive and I don’t have that type of money to waste. Like all of you out there, I have to figure out what gives me the most bang for my buck. An attempt at stroking my ego or doing more of what I love to do?
Again, don’t get me wrong, honors and awards are wonderful things, but only if done for the right reasons. The best award I could ever receive? If I could make the world a better place for even just one person so that that person could do the same for the next, then creating and sharing what I do was worth it all.
John: We are currently playing Enchanted Winds and The Ride and other songs of yours from previous albums on Home of the Stars Radio. You indicated that The Journey To The Places In My Soul is your most creative and best album yet. Why is that Vicki ?
Vicki: I would say that The Journey is the most creative as I’ve learned so much since my first CD and I’ve attempted more than I have to date. For example, I’ve played more flute on this one; more than on any other album. I’ve recorded more of the album at home and just brought in the hard drive to the studio. I used some new ideas (for me) and made some of my ideas more pronounced. There is an actual story interwoven into the music for the first time.
Anyhow, I believe that each album has a special place for me since each album helped me get to the next. If I didn’t do the first the way I did, the second one wouldn’t have come to pass. Same for the third and fourth. Each one builds on the last…each represents that time in my life in which it was created. Even the photos chosen represent what was happening; many were from my backyard.
In album number one, I was chasing a dream – trying something I never thought I’d be able to do, thus CHASING DREAMS only to end up FINDING MY WAY in the music industry. This CD I even arranged a couple of cover tunes, only to find that most people preferred my originals. I was on THE RIDE of my life realizing that I could do this and ended up with THE JOURNEY TO THE PLACES IN MY SOUL when everyone wanted to find out more about me…about how I came to this place…about my weird life! (And yes, it’s been strange…lol)
So that’s why I believe it is the best so far…but even better is yet to come… By constantly moving forward, attempting new things and keeping an open mind, a person can only progress…even when they think they aren’t. It doesn’t matter what someone else believes. In the end, if YOU believe in yourself, YOU do the work, anything is possible.
John: There were a couple of obstacles you had to overcome with your latest album, if you don’t mind, could you tell our readers what happened during the release of the album ?
Vicki: I believe someone once said to me sarcastically, if anything can happen, it will. About 3 years ago, we purchased a home only to find that it had major mold and moisture intrusion issues. The previous owner was found guilty of fraudulent seller misrepresentation and was given the order to repair the home. Instead of getting our home repaired, someone arsoned it and we lost everything…our pets, our businesses. We literally had the clothes on our backs.
Then I got lyme disease because I am an over zealous lawn mower. I mow everything. Due to genetics, I found that I had back issues. I had stenosis. My bone was growing onto my nerves and causing massive pain. It was a quick surgery and I’m hoping it’s not the beginning of more because the pain is starting to come back yet again. Then I had cataract surgery. (By the way, those of you who would like to know, I’m 43.) I haven’t been able to see right since 3rd grade! To wake up and see the alarm clock in the morning – to actually see who someone is and not a big fuzzy blob – to go swimming and not worry about getting splashed and losing a contact lens – wow! And the list goes on! And I didn’t even added the rest of my families challenges! Maybe someday I’ll write a book… lol
John: Something everyone might wonder is, like most Americans, we are constantly surrounded by rock, pop, jazz, and other genres, which are all great forms of music, so how did you discover, or what brought you into the New Age music scene ?
Vicki: STRESS! (Just kidding…kinda)
Really, it’s the creativity I find within myself listening to this specific genre, but I think that many of you will find that even the term “New Age” covers a lot more than just one style of music and the term has a different meaning for a lot of people. (A subject for a much later conversation.) I think that, using my music as an example, “New Age” music can be found labeled Celtic Pop, Smooth Jazz, and a gazillion other things. I love all music and I think that comes out in what I create. I hope people realize that it’s not the music that people are attracted to or not. It’s the message of the artist using the music that people relate with. Music is but a tool that allows people to communicate with others. Instrumental music is all encompassing. There are no words so there are no boundaries. Not even for the deaf or animals, believe it or not. At least that’s how I view it. It’s another medium with which to paint something. So, I like the “New Age” music best because I feel that most of the artists here have a more postivie view on life and I think we really need to be more positive. Personally, a label is just something we put on something else because we need to be able to identify it when we communicate with others and we all label differently according to what that label means to us.
John: There are other talented musicians who perform on particular songs and albums, who are the band members, and is creating the albums fun for you and the group, or do you consider it work ?
Vicki: In reality, I am all the parts when I create the songs. The musicians I work with take the parts I create and give them life. Technology has provided me with a lot of sounds which are similiar to the real thing, but it’s not like having the real item in the studio. People are capable of manipulating their instruments in ways computers can’t. To give credit where credit is due, these musicians all have excellent ideas to help make a song much more interesting. I don’t know everything and I don’t expect I ever will, so human interaction is something that we all need. Period.
The folks that help me out are Randy Gildersleeve (also my main mentor) who performs miracles on guitars, mandolin, banjo and pushes me to learn more and open my mind when we are in the studio during production. Then there is Andy LaCasse who does things with bass that I would never think of. He also puts my music into sheet music form so others can play the parts with backing tracks. I can’t read a stitch of it, but I guess it’s pretty cool since there is a lot of black all over the paper! The other person who helps me get the music where I need it to be is Peter O’Gorman – percussionist extraordinaire. He will play anything to get the sounds we need…and that is no lie. Give him a garbage can lid, a stick, whatever. He’ll make it sound awesome.
There are several other people that help out depending upon what my needs are. Matt Fink (aka – “Dr. Fink”) is an incredible keyboardist and producer and taught me a lot about midi recording, computer work and pro-tools in his home studio. I now know why I hire people to do those things! Too much information and I just don’t have the nack for that part! Then there are loads of other instrumentalists, producers, mentors and more that I’ve worked with but would take forever if I named them all. They ARE ALL listed in my CD packages and I could never thank them all enough. That’s why I get to be where I am. With all of them.
Work? Music is NEVER work. Promoting and making merchandising things…figuring taxes and making sure the right things go to the right places…THAT’s work!
John: You already have 4 exceptional CD’s now available for purchase. Are you presently producing, or plan to have another album in the future besides the 4 currently on sale ?
Vicki: Funny you should ask that question. I literally got my new equipment today (after waiting patiently for the past 2 1/2 years!) and when I started messing around with all the buttons, I found that I have more sounds then I had previously and songs were rushing out left and right. I hope to have a new CD for release sometime in 2010. We’ll have to see what happens until then, though. Timing is everything and it has a mind of it’s own! Beisdes, remember my little quote above? If anything can happen it will? I just have to see what will happen! lol
John: After reading your homepage biography, you seem to be philosophic about a person obtaining their goals by your own life experience. What advice can you offer persons just beginning in the music business, or suggestion to others about overcoming obstacles in general ?
Vicki: Everyone is different, yet everyone is the same. What I have found is that if you do what it is that you truly love, you make time for it and you are happier. If you THINK you want to do something and have a million excuses as to why you don’t get to it, I’d say that you must not be that interested in it. Think about it. If you want to go to the park, you will find a way to go to the park. If you want to take a vacation, you will find a way to take that vacation. For the most part, we will do the work necessary to get instant gratification. For some reason, we don’t do the work necessary for LONG TERM gratification. Time goes by so fast, even our so called long term is here before we know it. My favorite quote is “Dreams are only dreams unless YOU are willing to make them a reality.” Many someones out there said that opportunities don’t just happen, we make them happen and that is more right than any one can imagine. If you want something, then do what it takes and get it! Just be realistic.
Life is a precious gift. Use it. Enjoy it. Live it.
Check out Vicki Logan’s homepage.
Picture Copyright BigStockPhoto. Yoga Heart.
Interview with Harlan Mark Vale
NewAgeMusic.nu has interviewed Harlan Mark Vale about his new album Bright Angel.
* You have had a lot of experience with other instruments that the piano. Please describe your “return” to the piano and the creation of Bright Angel.
Harlan: I am a percussionist. I play drums, synthesizer and piano. My formal musical training was in 20th Century Composition, Electronic Music and Audio Engineering at The Evergreen State College. There I immersed myself in the electronic creation of sound fundamentals using the Buchla 200/300 modular synthersizer in their electronic music studios. Studying the techniques of the avant garde textural sonarities I became familiar with these abtract and experimental elements at the boundary of “music”. At the same time I was still performing solo improvised piano concerts as I had done since grade school.
After performing at my church last year I was asked if I had a piano CD. It suddenly dawned on me that I hadn’t done a piano recording since 1978. At the same time I had started a new job working for the Grand Canyon Railway as a passenger service attendant. During my lunch hour I would go up to the El Tovar hotel and play piano. Over a few months I developed a body of work which is now known as the Bright Angel CD.
My original intention was to create a contempory interpretation of the Grand Canyon but after capturing the magnitude of grandure associated with this seventh natural wonder of the world it became something much more than that. So not only were some of these compositions titled after geological features within the Grand Canyon, they were outward representations of the Divine creativity inherant in all of us, that is the connection to the Source. So my task as a performer is to tap into the Source, get out of the way and let the expression of “automatic writting” come forth unincumbered. My joy is to experience it enfolding before me.
I also believe that with the piano, it is a voice with which the public is comfortable. After composing and performing electronic music for decades, with well over a hundred albums in my discography, none of them has ever come close to the positive response that I have had with Bright Angel.
* You have also played improvisational jazz. Do you think this affects the way you work with music?
Harlan: Unquestionably. Working within the free jazz improvisation paradigm is and had been very exhilarating for me. Working with some of the finest musicians in the Pacific Northwest has encouraged that emensely. I performed with The New Art Orchestra from Seattle in the mid 1980s. This was a collection of players of all backgrounds and proficiency levels ranging from street musicians to soloists in the Seattle Symphony. With 17 – 25 performers we would take the stage and completely improvise the entire show. When it didn’t work it was a chaotic dog pile of sound, however when it did work, it was truely magical.
The secret was in the “listening” and the “placement” of your sonic contribution to the collective soundscape. I believe that this is ear / heart / spirit / hand training at it’s finest. I still utilize this technique in everything I do, whether it’s as a soloist or with an ensemble.
My approach to the piano is one of a percussionist that uses the piano as a polyphonic harmonic cannon. I use the piano keyboard as a controller to sound notes in any way or order, rather than using traditional piano techniques.
* According to your homepage, the album title Bright Angel came about after spending time at the Grand Canyon. How much of your musical inspiration comes from nature?
Harlan: Some of my first meaningful spiritual moments came from natural beauty. Naturalism is a common starting point for people to begin to appreciate the wonders of creation. My music is a documentation of my own personal growth. And each composition is a signpost of that journey up to the present time. Like I said earlier, Bright Angel is not only a peak in the middle of the Grand Canyon, for me it is a metaphor for that Divine spark inside of us that pulls us toward the ineffable; our spiritual evolution, and reminds us where we came from and why we are here.
* Dr. David Hawkins’ consciousness scale sounds very interesting. Tell us about Bright Angel‘s healing qualities.
Harlan: Dr. David R Hawkins, M.D., Ph.D. is an internationally renowned psychiatrist, physician, researcher, and pioneer in the fields of consciousness research and spirituality. He writes and teaches from the unique perspective of an experienced clinician, scientist, and mystic and is devoted to the spiritual evolution of mankind. Over 250,000 kinesiological calibrations spanning 30 years of multiple research studies conducted by The Institute for Spiritual Research, Inc., have defined a range of values corresponding to well-recognized attitudes and emotions. These values can also be obtained from signatures, hand writing, art work and music and the like, that are infused with the vibrational content of the person created it.
Dr. Hawkins’ book, Power vs. Force provides a detailed explanation of this consciousness scale. Using this scale, we have calibrated Bright Angel at well over 700, which is the level of enlightenment or pure consciousness. People we have muscle tested using Bright Angel always test stronger, both while the music is playing and afterward for a period of time. I would encourage people to test it for themselves and email me their results to hmv@harlanmarkvale.com.
Another interesting thing is that I test significantly lower when I’m not creating music and I test stronger when I am.
Dr. Hawkins publications can be found at: www.veritaspub.com
* To record piano is not easy, but the sound on Bright Angel is very good. Please tell about the the people and equipment involved.
Harlan: The music that I wanted to capture for the Bright Angel project has a lot of space in it. Most of the “activity” occurs after the notes have been sounded; a sympathetic harmonic interaction within the strings and around the harp. Some of these wave forms have wavelengths that are longer than the length of the piano itself. Instead of making a recording in a traditional way that mics the hammers over the strings that yield a percussive type of sound, I chose to blend a quadraphonic field of two sets of stereo images; one set close to the piano, over the sound holes of the harp for the primary image, and the other away and under the piano for a reflective and distant stereo image. The result is a wide image field with lots of natural movement to it.
For the primary stereo field microphones I chose a Mojave Audio MA-200 large diaphragm tube condenser mic for the bass strings and a Neumann TLM-103 transformerless condenser mic based on the U-87 Capsule for the treble strings. For the distant stereo image microphones I chose the Grundig GDSM 211. It is hand made in Gremany and uses a bi-naural stereo X/Y configuration. For auxiliary preamps I used a True Systems P-Solo and a Aphex 107 Tubessence. These were fed directily into the board of a Roland VS-2480 digital workstation.
I interviewed several engineers here in Prescott, Arizona and decided upon Mark Echard of Heavenly Sound Studio (928.899.0243 http://www.heavenlysoundstudio.com/) to help me with a remote recording at The Yavapai College Performance Hall. I coordinated with the theater manager to rent the hall the day after the Vienna Christmas Orchestra performed. They had the 1923 Model D Steinway & Sons grand piano freshly tuned and left it in the middle of the stage for us. So we came in the next day and recorded about 2 hours of material in under 4 hours; out of which the Bright Angel CD was born.
* What is your opinion on the music industry today? Will you continue as an unsigned artist, or will you sign a record deal?
Harlan: The music industry has changed and expanded since I began my solo career in 1974, back in the ‘analog’ days. In one way the mainstream industry, and it’s 5 headed record label machine, has compromised the creative artist into a clone of the industry idea of what the public wants. On the other hand there have been quite a few artists over the years that have successfuly navagated these waters, establishing new creative ways to do music and business. They have paved the way for others to follow.
For years I produced my music under my own independent label. With the advancement of the internet it is much easier to produce, publish and distibute my work using this vehicle. The electronic press kit for marketing, booking gigs and other details of production, is a wonderful thing. I am in direct contact with the people I need to communicate with almost instantaneously, just like you. Instead of cold calls, ‘shmoozing’ with club owners and wondering for months if my album made it to the desk or the trash can with no response, I have the opportunity to address my intended market directly. This is very efficient and I am very grateful for it.
As far as any record deal goes, I am open if the right offer comes my way.
* Thank you very much for your time. Keep creating great music!
Harlan: It is my great pleasure. I honor you and thank you for this opportunity. Namaste.
Photos of Harlan Mark Vale by Kathreen Drager.
Interview with Mark Mendieta / Transcend with Time
BT Fasmer (*) of NewAgeMusic.nu has interviewed Mark Mendieta about Transcend with Time.* You have two music projects, one for progressive rock (Subject to Thoughts, together with Brandon Strader) and one for new age (Transcend with Time) for new age. Do you have to change your approach to music when going from one project to the next?
Mark: Yes, I do have to change my approach when writing the music for both projects. When writing for Subject to Thoughts, it just depends on the mood I’m in that particular day when I’m writing either the music or lyrics. For example, if I’m in a miserable mood, then the music or lyrics will take that avenue. If I’m in a happier mood, then they will take that shape. Writing the music & lyrics this way helps me create different moods that help the band sound more unique.
When I write the music for Transcend with Time, I like to be in a more calm & relaxed state of mind. This helps me create my music with more emotion and atmosphere which is something I always strive for. For both projects, I always strive to make the music thought-provoking. I enjoy making music that has purpose because this allows me to challenge the listeners, and that is what music is all about for me.
* I find that the most interesting aspect with Through Memory’s Perception is the atmosphere, which is in my opinion unique. The mood reminds of rock and perhaps even metal, but still it is 100 % ambient new age. Was it a goal for you to make something truly different, or did it just happen?
Mark: When I started Transcend with Time, my goal was that I wanted to make New Age/Ambient music that was totally different from the typical New Age music out there. To tell you the truth, I’m not that into New Age music (well, only a few). I’m more into Progressive Metal/Rock and Doom Metal, so that’s why my music probably sounds so unique.
* How has the feedback from your audience been? Do rock music fans like your music?
Mark: To tell you the truth, since the inception of this project (2006), it’s been a rough road with not much fan support. I’m not going to lie, probably not many people know what this project is all about to this day, but that’s okay. To the people that have listened to my music, I thank you. It was not until probably the end of 2008 that people finally started responding to my music. I guess it helps that my music has received reviews, and it is being played on Internet radio stations worldwide. Probably one of the biggest misconceptions is that when people see or read independent artist, some assume that the music is not worth listening too. Oh well. So far, the feedback off my latest album Through Memory’s Perceptionis turning out great. It seems that I am finally starting to make a dent.
To answer your other question, most of my fans are into Rock or Metal. That’s nice to know that people can listen to music with an open mind even though it’s a different genre.
* You have released three albums in two years, and all songs have a personal touch and high quality. How do you find inspiration to so much music?
Mark: Well, first of all, thank you for the compliment. To answer your question, music is something that I’ve always wanted to do and have been doing (in some degree) since the age of 5. It’s my passion, so for me the songwriting process comes out naturally. Usually, a song for me develops from a certain melody, beat or mood I have circling in my head.
In releasing three albums in two years, for me, music is a constant flow of emotions, so I have no problem finding motivation. I have always believed that there is no need in having to wait for 2 or 3 years in between for albums to be released.
With all three albums, before I start writing the music, I actually sit down and think of a theme. After I’m content with the specific theme I have selected then I start writing the music. All three albums have a personal touch because I have been through a lot during these past years. Throughout the years, music has definitely helped me through some very difficult times in my life. This is how I cope with my feelings.
* Tell us about the equipment you use (hardware synths, sequencers, VSTs ect). Have you had any help with the recording and mastering, or have you done all yourself?
Mark: Well, I don’t have a very elaborate studio, and I go through a fairly simple process to get my music done. I use my Yamaha PSR-GX76 (it’s an old keyboard, but it still gets the job done). As far as sequencers goes, I use the one built in to my keyboard and record all the instruments onto different tracks then I transfer all of the music to my Adobe Audition 3.0 music program that I use to edit & master my music. As far as VST’s go, I usually do not use many, but one that I do like to add to all of my songs is a Plate reverb. This gives the instruments a nice echo feel. Sometimes, I might use a Chorus effect, a transpose effect to change the sound or add a pan effect, but not much. I like my music to have more of an organic sound instead of adding a lot of effects. It will then just sound to overproduced.
Since Brandon introduced me to Adobe Audition 1.5 first then 3.0, he gave me some pointers on how to work these programs, but other than that, I have always done all the recording and mastering by myself.
* Do you have any new albums under way? More new age or more progressive rock – or both?
Mark: Yes, hopefully by late February or March, we will be releasing our new Subject to Thoughts CD entitled The Culmination. Right now, Brandon (my bandmate) is finishing mastering the disc. If you want to check us out, you can visit us at Subject to Thoughts or on MySpace or Soundclick. If you like what you hear, you can go to Tarniusmusic and purchase our latest CD/downloads From Sunrise to Sunset.
As far as Transcend with Time goes, I have nothing at this moment. Hopefully by summer, I’ll start working on new material for a new album. Right now, I’m just promoting Through Memory’s Perception as much as I can.
* Thank you Mark for the interview! Check out our review of Through Memory’s Perception. You can buy it on Tarniusmusic.com.
Picture copyright BigStockPhoto – U.P. images
Interview with Dan Kennedy
NewAgeMusic.nu has had the pleasure of interviewing Dan Kennedy about his album Lantern;
* How was it for an up-and-coming new age artist to work with the master himself, Will Ackerman?
Dan: I was nervous at first entering Will’s Imaginary Road Studios and walking past the gold records and all, but Will is such a professional that he allowed me to work and just play my best. Susan had some sandwiches and brownies for us, and things were quite relaxed after that. Will also has an outrageous sense of humor which I appreciated — sessions are long and he — and his engineer Corin Nelsen — both know how to keep things loose and fun, without losing site of the fact that they are creating a product whose audiophile sound compares to any record coming out of New York or L.A.
* Did you compose more than 4 songs to Lantern, some who didn’t make the cut?
Dan: Yes, there was a fifth piece I gave Will originally on the demo tape which he passed on, a kind of tempo-shifting, jazzier number. But Will definitely has opinions, and looking back, I was glad I trusted those opinions. Closer to the recording dates Will asked me if I had a ballad, and I chose one on an old demo tape from 1985, and it became the tragic tune Ballad
* Please describe your creative process.
Dan: I start by impovising at the piano, and I am really just playing for fun, playing what I would like to hear. I don’t feel I have any control over the original musical ideas, or kernels, as I call them. I remember my favorites of these, then develop them from time to time. I will have the sections of a piece planned out ahead of time, but every performance will contain variation. I like to improvise on concerts, too, so no version of one of these “structured improvisations” is ever the same. On Cycle, there is a long section at the end where I veered off and created this whole new extremely quiet part — and Will just let the tape roll. It is probably my favorite moment of mine on the record.
* Do you plan to be an independent artist, or will you sign a record contract?
Dan:I certainly have enough material saved up to make a full-length, but before anyone will offer me a contract an independent artist such as myself has to “do the footwork:” build up a fan base, and play out. I would like to be signed someday for help with distribution, marketing, concert promotion, etc.
* What now? What is the next big project?
Dan:Probably to get the lawn mowed (laughs)! We live on an acre and three quarters out in the country in Amherst, Massachusetts, USA, and that is a big job! But more to your question, the next big project in music is really ongoing: I am giving concerts locally, getting the word out, because I feel my music is special in that it flows from the new age tradition, but has other elements such as blues and rock, seeping into it. There are so many variables in today’s music business; I feel that making good, honest music is all you can do, and that that is true success.
* Thank you for the interview, Dan. Please create more great new age music!
You can sample and buy the album on 
or on CDBaby
Interview with Jillian Goldin Aversa
BT Fasmer (*) of NewAgeMusic.nu has interviewed Jillian Goldin about her debut album Origins and the Christmas EP Through Sand and Snow.
* To create a Christmas album is something different from a normal album. Please describe the process. Was it hard to choose which songs to record?Jillian: Indeed, it was difficult to narrow down the list! I knew that I wanted to try my hand at several traditional carols, but I also thought it would be refreshing to include arrangements of a couple of lesser known pieces – namely Walking In the Air from the wonderful animated film The Snowman, and the Appalachian spiritual I Wonder As I Wander.
Possibly the greatest challenge was figuring out which songs had the potential to work with my original vision: a magical nighttime journey through the wilderness, on Christmas Eve. I was wary of selecting any traditionally happy sounding carols in major keys… But Andrew and I were overjoyed when we started finding inspiration for our arrangement of Silent Night. Everything had to have a certain ancient, ethereal quality.
* The album is only 24 minutes long (23:48 to be precise). Would the album, or EP, have been longer if you had more time to work with it?
Jillian: It’s funny you should ask, because my answer may surprise you: no. I knew that there would not be time for a full length album before the holiday season… So with that in mind, I tried to think of ways I could pull of an EP as a special and cohesive project, rather than a collection of songs thrown together as an afterthought. It was quite fun watching the album take shape! Every sound and musical idea was meticulously planned in order to serve the greater whole, since I knew it would have to be short and sweet.
Don’t be surprised if you see a new holiday album from me in the future, however! There are so many great carols that I would love to get my hands on… and perhaps I’ll write a few original wintry pieces as well.
* After listening to the results of your recent Origins Remix Contest (samples under Media on Jilliangoldin.com), I must say that it was highly successful. How was it to have other artists working with your material?
Jillian: I was blown away by the quality of work submitted to the contest. Hearing my own songs arranged in such original and interesting ways was more delightful than I could have imagined at the outset. I will definitely, definitely have more remixing competitions in the future!
* Today music production is all about computers and sequencers. I understand that you do a lot of the production yourself. Do you enjoy the technical aspects of music creation?
Jillian: It’s sort of a love-hate relationship. Choosing samples, mixing, and mastering is *incredibly* tedious when you are as picky as me, because part of what makes this kind of music sparkle is the production itself. I always have a very specific vision in mind, but translating that into sound is usually a tiring process of trial and error. That’s why I am thankful to have the help of my fiance, Andrew (a.k.a. zircon): he is masterful!
* What can your fans expect from 2009? Do you have a plan for a new album?
Jillian: I hope to release another full length album by the end of 2009, but I haven’t arrived on a concept just yet. Anyone interested in following my progress may want to join the mailing list at Jilliangoldin.com, as I send out monthly updates with song previous and other project announcements.
* Thank you, Jillian. Best of luck with the new album, and have a great Christmas!
You can sample and buy Jillian’s albums, Origins and Thorugh Sand and Snow, on CDBaby.
Read our Through Sand and Snow review here. Artwork by Daniel Kvasznicza.
Interview with Medwyn Goodall
NewAgeMusic.nu has interviewed Medwyn Goodall about his highly popular Medicine Woman series. The fourth album entitled Medicine Woman IV: Prophecy 2012 has just been released. The interview is done by BT Fasmer.
BT Fasmer: The Medicine Woman series contains some of your most popular and beloved songs, like Temple Journey, Invocation (all parts) and Farewell To The Darkness. When you recorded the first Medicine Woman in 1991, it was the beginning of something entirely new in your discography. To quote the cover: Rhythmic, celebratory, nurturing. Today these are the words many fans would use to describe your music. Please tell us what the Medicine Woman series has meant for you as an artist.
Medwyn Goodall: During my career I’ve developed some personal favorite themes and styles that I enjoy returning to and Medicine Woman is one of those themes. It is a sound that is very me, very natural to me and is like an old friend. Whilst I might try out different ideas and do different projects, fans know that at some point I will always return for a period of taking these theme another step. It’s become a trademark of my career that every 5 years or so Medicine Woman will be re-born.
BT: The Medicine Woman series is inspired by the ancient Mayan culture, and this is even more apparent in the latest installment: Medicine Woman IV: Prophecy 2012. Tell us about your interest for the ancient Mayan culture, and the enigmatic year of 2012.
Medwyn: I can’t remember a time that I wasn’t interested in myths, legends, mysteries and native cultures, and the Mayans stand out as being one of the most unusual civilizations there have been. The Mayans were amazing astrologers and keepers of time, so much so and so accurate were they that today’s scientists are still debating theories on how the Mayans had such knowledge. The ultimate conclusion of the Mayans knowledge of time and astrology was their creation of what is known as the Mayan calendar which tells of periods, eons of time each having its influence on humanity.
What is immediately noticeable about the calendar is that it stop very precisely on the 21st of December 2012. It does not predict a doom and gloom end of the world scenario, but more mysteriously hints and foretells of much upheaval as we pass from a period of difficulty in to a time of re-birth and enlightenment. What is truly interesting is that many other cultures all have similar predictions for the same time and date. 2012 to many ancient civilizations seems to indicate a massive change and that is what the CD is referring to. To sit up and take notice and look into the details for oneself.
BT: This series is one of the most successful in new age music history. Are you nervous about making a sequel?
Medwyn: I was very nervous when I made Medicine Woman II and a little less so with CLAN II – the Scroll, because they were the first time I had written a definite sequel. I am not nervous these days, I thoroughly enjoyed making Medicine Woman IV and was perfectly relaxed and content whilst making it, which show I think. It sounds as if I was confident and relaxed.
BT: The Medicine Woman series albums have been accompanied by some wonderful cover art by American artist Lisa Iris. I guess it is right to say that she too has given life and identity to the Medicine Woman?
Medwyn: Yes Lisa is a very good friend of mine and she added her own flare giving Medicine Woman a visual style and identity. With Medicine Woman II and Medicine Woman III we very much collaborated on ideas for the cover so that I could echo them in the tracks, making the albums that much more integrated. However Lisa couldn’t join me for the 4th new album and so I designed the cover myself.
BT: The Medicine Woman was the first of several magical women in your discography. Like Priestess: Return To Atlantis, Moon Goddess and Earth Goddess. The celebration of the Feminine is central in your music. Do you see yourself making more Medicine Woman albums in the near future, or will the other powerful women mentioned here get their sequels first? A new Earth Goddess album perhaps?
Medwyn: I do plan to sequel The Sorcerers Daughter next year with Rune Caster. The Sorcerer’s Daughter was always planned to be a mini series or trilogy and I have settled on it being a trilogy, as it has a linked story. I’ll return to Medicine Woman every few years for as long as fans want me to and if I feel I have something fresh to say on the subject. I don’t feel as though it’s over yet so there could be a 5th in the years to come.
BT: You also run the MG Music label. Still you find the time to be an artist yourself. Can you do both at the same time, or do you take time off from the label to create music?
Medwyn: It’s impossible to do both at once. I choose periods where the label doesn’t need me personally too much to escape into the studio. It was harder in the earlier years of the label and my music suffered a bit as a result of the clash. Since the Sorcerer’s Daughter, 2006, I can find the time to focus on just being an artist and I feel as though I have really found myself again as an artist, having gone through the transition to owning a label.
BT: Thank you Medwyn for the interview, and good luck with your new projects! 2009 is looking out to be a great year for the MG Music label.
Sample the new Medicine Woman album here.
Picture copyright Bigstockphoto.com, Craetista
Interview with Ken Elkinson
BT Fasmer (*) of NewAgeMusic.nu has interviewed Ken Elkinson about his solo piano albums. Read his discography here.
* I have noticed that your music, from Midnight Conversation (1997) to the Cue (2006), tend to be very positive and uplifting. There almost no melancholy and even the sadness is beautiful (like the song Beautiful Sadness on Cue). Is it your goal to create music with a positive vibe, or is this something that comes naturally to you?
Ken: I am not sure if I can take credit for that being intentional! I think by nature I am more of a pessimist, which is something I am always trying to change about myself. I think of my four current releases Revelry and Cue are lighter, and Opal and Midnight Conversation are more serious – though even there I try not to get that dark. It is funny because right now I am putting the finishing touches on my next original piano CD – and there is one tracks I am wrestling with taking off the CD because it is too heavy. I sent a copy to my first piano teacher when I was five, to have her help make the decision.
*What inspires you? Describe your creative process. Do you write notes, use a computer, etc.?
Ken: I know this may sound hard to believe, but I am not usually inspired directly by anything when I compose. It is not like I write a happy song because my kids were born, or I write a depressing song because I got into a fight with a relative. I usually sit down and come up with a riff or an idea. Sometimes I am able to expand on the idea immediately, sometimes I agonize for months. I record all my “writing” sessions with a mini-disc player, yet I rarely go back and try to revive anything I have not turned into a complete song. I don’t use my computer at all in terms of my piano writing, but I do play around with creating some electronic music using loops. That stuff has not seen the light of day, as I am so busy with my piano music, I never have time to finish anything else. However after I release my next original CD I am planning on a break from piano to do other types of music.
* This year you have released two albums with music composed by others, Borrowed Tracks and Generations of Yuletide. Still you have a personal touch on each track. How do you make a classical song, like Eleanor Rigby or Send in the Clowns, “yours”?
Ken: That is a good question, I am not sure. I listen to music pretty much around the clock, and I am always looking for songs to interpret on the piano. I have a pretty good ear, and that combined with all the free chord charts you can find on the internet – gives me a good start. I try to pick songs that have not been done a hundred times – but even then sometimes that is not avoidable if I love the song. What I try to do with the arrangements in general on a cover song is to make the song as different as possible, while still being recognizable. I really respect people like Sting who can take a song, change it almost to the point of not knowing what it is, and still have the song come out awesome.
* Your new Christmas album is quite different from most other releases, with a historical selection of songs: it is like a travel in time and geography. Tell us why you choose to do it this way.
Ken: I was a little wary going into recording a Christmas piano CD – as there are about a million of them out there, and a large number of them are pretty boring and repetitive. I am not claiming my CD is like the Beatle’s White Album of Christmas music, but I don’t think you can call it boring or a re-hash of everything else out there. I got some ideas from friends who are really familiar with the genre of Christmas music, and then I found some sheet music books with a wide range of songs. I tried to find some songs that were fairly obscure. I scoured over the internet and iTunes to see how many versions I could find of some of the lesser known songs I did. I think I succeeded at least partially, as one reviewer who claimed to be the foremost authority on Christmas music in the world said he had never heard of one or two of the songs I picked. In terms of the order, I just decided to put them in chronological order. However, I gave my father-in-law a copy, and he said that he was much more familiar with the newer stuff at the end. In hindsight, perhaps I should have gone in reverse order. Maybe when I sell out of this printing, I will go back and change it up!
* To record piano is not easy. What kind of equipment do you use? Have you received any help in the studio?
Ken: I recorded my first CD Midnight Conversation on a Steinway. I remember sending a copy to one of my solo piano contemporaries, someone who I really liked their music. He wrote back and asked my CD was recorded on a keyboard, because he thought the sound was not that good. I said from that day forward, there would never be that question again. I discovered Bösendorfer pianos and it was love at first play. The two affordable studios in North America that had Bösendorfers were in Saskatchewan and West Palm Beach. I hate cold weather (sorry Norway!), and I have a grandmother who lives in Florida, so I chose that. I did my next 4 CDs on that Bösendorfer with Neumann mics and very little effects. That piano does not really need much. It is a mother/son team who ran the studio, and both are amazing musicians and freaks for good sound. In the middle of recording my upcoming CD, the mother and son went their separate ways, and the mom moved the piano to New York City. I was a little nervous because the piano went from being in this immaculate studio to a living room that was not even sound proofed. The newer songs turned out fine, though you may faintly be able to hear a dog barking in the background. Just kidding! However, I did my Christmas CD on a Yamaha out here in LA, as with 1 year old twins, it was hard to find the time to get to NYC for a few sessions. The Yamaha also had a good natural sound, which was helped along by Trevor Saddler’s mastering. He did a lot of the Narada stuff, and really knows how to get the most out of a piano record.
* You have one track with vocal, Beautiful Sadness with Tom Freund. Will there be more vocal on your coming albums?
Ken: I definitely hope so at some point – not on my next piano CD, but maybe after that. I have been plugging away at some vocal tracks for years, but can’t seem to finish them. My two biggest challenges have been that I have a terrible voice, and that I am really bad at writing lyrics. Since my first CD, I always want to do a vocal track. I was a big fan of Tom’s work, and never thought he would agree to it. He plays with Ben Harper, Jackson Brown, Victoria Williams – all these great people and has amazing albums himself. Beautiful Sadness is actually his song, originally done with just guitar and vocals. I re-worked the song for piano, and he just breezed into the studio, did two or three takes and we were done. His timing is so great, he is like the Sinatra of folk/pop/rock. A few other somewhat well known artists have expressed an interest in doing some vocal tracks, so hopefully I can pull that together at some point.
* What kind of music do you like? Do you enjoy new age music in general, or only solo piano?
Ken: I don’t actually listen to that much solo piano, or new age music in general. My kids have a radio in their bedroom, and they listen to the Spa (Relaxation) Channel on Sirius Satellite Radio round the clock. So that is mostly where I am exposed to that type of music. In terms of piano and/or new age artists, I love Keith Jarrett, George Winston, Ludovico Einaudi – maybe a few others. The rest of the time I listen to a huge variety of music – from rock to alternative to bluegrass to rap to Hawaiian to Brazilian samba. Some of my favorite artists are Steely Dan, Bruce Springsteen, Jose Gonzalez, Tori Amos and Sting. I can’t stand being without music for even one music, so if I go into a parking garage and my satellite radio goes out, I switch to CDs immediately!
* Thank you for the interview, Ken. Keep creating great music!
Don’t forget to visit Kenelkinson.com.
Piano photo copyright by WizData – used with license from BigStockPhoto.com.
Interview with Peter Buffett
BT Fasmer (*) of NewAgeMusic.nu has interviewed Peter Buffett about his current projects.
* Jazz bassist Dave Holland once said that the whole point in developing your own style is to find your own voice. And you, after many years as an instrumental artist, literally started singing. Please describe this experience. Do you feel that your music became more personal after this?
Peter Buffett: First of all, I couldn’t agree more. Finding your voice – or as Joseph Campbell said follow your bliss - is critical whether it’s in music or any other pursuit. And, yes, that came about literally for me in recent years. I tried to write songs with lyrics when I was young and in retrospect realized that they were mediocre because I hadn’t had enough life experience to really say anything of substance!
Now, many years later, I have a lot more to say and the music has most definitely become more personal as I’m able to put my thoughts and feelings into words. It was an amazing experience for me. While I still write instrumental music when I score to picture, I can’t imagine life without putting words to my music now.
* As a New Age music fan, I never imagined you as a singer-songwriter. But after Gold Star (2006), Staring at the Sun (2007) and Imaginary Kingdom (2008 ), I find myself wanting more. How have your fans responded to this change of style?
Peter: It’s been interesting. A few miss the instrumental work – but for the most part, everyone has come along for the ride. And vocal music certainly attracts more interest. That was always a frustration of mine. Some people just couldn’t relate to the instrumental work. I knew what emotions I put into that music, but many people need a vocal and a lyric to really relate. Which is certainly understandable. But until I found my voice, I knew I wasn’t reaching everyone I was hoping to. I’m glad to hear you want more!!
* Is it different to stand on the stage with Pop/Rock material than New Age music? Is there another kind of connection with the audience?
Peter: Yes! And I’m still getting used to that. To actually open your mouth and sing is a VERY different experience. And, honestly, I don’t really think of myself as a singer any more than I consider myself a pianist. I realize that may sound strange, but I do the things I do to get what’s inside out. So I execute the tasks as needed (sounds a little odd – but what I mean is, I’m not particularly great at playing – but I know what to do to produce the sound I want). So to be in front of an audience and sing something I’ve crafted in the studio by myself is very different… I’m slowly getting used to it!
* Many were surprised when jazz drummer Jack DeJohnette recently won a Grammy for best New Age Album for his release Peace Time (see for instance this article) Is the future of New Age music in the hands of established Jazz, Classical and Pop artists? Or do the thousands of small, Internet-based artists stand a chance in the serious music business?
Peter: I think the future is in the small artists. There is great music being made on a scale unheard of before – because the technology is in the hands of everyone. This makes for a lot of not so great music too! As soon as things like recommendation engines and other tools that help separate the signal from the noise really get refined, we will start to hear some amazing music coming out of the bedroom studios of the world.
* What is your current music project?
Peter: Aside from my most recent release, Imaginary Kingdom, I am collaborating with Akon (now that’s a crazy pairing!) on a song about human trafficking that we will perform in the General Assembly of the UN later this month. That track will be released on March 25th.
* Thank you for the interview, Peter! I urge everyone to check out Istheresomethingicando.com, and support your project.
Read Peter Buffett’s discography here. Also be sure to take a look at his website.
Interview with Colin O’Donohoe
NewAgeMusic.nu has interviewed Colin O’Donohoe about his past and current music projects. Here you’ll also get exclusive information about his upcoming album Lyrical Sutras. If you are not familiar with Colin’s music, please scroll down to the bottom for a short presentation of his work. The interview is done by John P. Olsen, who also reviewed Colin’s Songs of the Saints album.
John P. Olsen: Your current project is the Pangea Ensemble which includes persons and their musical influences from around the world. Can you tell us a little about the musicians in the Pangea Ensemble, like where they live, and what instruments will be used?
Colin O’Donohoe: We strive to reconnect people from around the planet with our undeniable universal language of music. Our musicians are as diverse as the planet itself and they come from most of our fine continents. They now all live in or near Phoenix. The best way for people to know more about the group is to visit the site, it says far more than I can.John: On New Age Stars radio we regularly play tracks from The Songs of the Saints album, and I have noticed most song titles describe through song lyrics, stories about historic saints, and have wondered where or how the idea for songs about saints originated?
Colin: First, Thank you very much! I’m really glad that you play my music, you obviously have incredibly great taste! The origins have been swirling in my mind for many years. In 2006 I began seriously digging into the keyboard to create some ideas for the music. I started doing some loose sketches of song and lyric ideas. I began reading much more about the saints. I wanted to do my utmost to deliver a unique look into the lives and stories of these saints.
The result obviously became a collection of songs that are united in theme of content but not in musical style. As I concentrated on each saint I began writing in several different styles. My priority was to make the music reflect the saint and not make each piece dependent on the last.
John: Your music is truly diverse by having so many music genres intertwined that readers might like to know how you conceived such a broad range of musical influences, and where do you first get your inspiration for such a broad expression in your music?
Colin: I have an insatiable curiosity, and I love music! I love performing and learning as many new styles of music as possible. Over the past 18 years I’ve sought out masters in various genres to help me better understand many styles of music. In addition to this I love reading. I guess that this combination of things lead to my imagination creating different worlds for different saints.
To create the music I would read about the saints and then just jam on a keyboard for a little while. This process took several months. After I felt comfortable with the material I decided to get serious and really do my best to construct the songs.
I also like to keep myself excited by doing several different things. So, while writing a classical piece I might shift to the turn table and see what I could add to a completely different song. It kept it all fresh in my mind.
John: Can you tell us a little more about the Chinese book of poetry Shi Jing and how that translates into musical inspiration?
John: The big question everyone wants to know, is the time frame of when your next album release is expected to be available for purchase, and will the album be as diverse and be theme oriented material in relation to Songs of the Saints?
Colin: Why thank you for asking! You can read it here first! My next album Lyrical Sutra‘s official release date is scheduled for 6/1/2009.
As for the material. It is my first time delving into the world of electronic music whole heartedly. The songs are broken into three sections:
I. Meditation
1. Heart Sutra
2. Diamond Sutra
3. Eight Fold Noble Path Sutra
4. Enlightenment Sutra
II. Prayer
5. Lotus Sutra
6. Pure land Sutra
7. Taking Refuge
8. Amitabha Sutra
III. Awaken
9. A Boddhisatva’s Vows
10. Triple Gem Sutra
11. The Sutra in 42 Sections
12. Golden Light Sutra
Meditation: is four mid tempo pieces
Prayer: four slower new age style pieces
Awaken: four uptempo dance style pieces
The idea of the album is to relax you, allow you to become at peace, and then reinvigorate you and get you feeling better than when you first began to listen to it. The idea of the album comes from a few of the many Buddhist Sutra’s which are the teachings of the Buddha.
John: Mr. O’Donohoe, I do thank you for your time, is there anything you wish to tell our readers concerning your commitment to bring people of the world closer together through music?
Colin: I just want to thank you again for the pleasure of the interview process. I hope that your audience loves my work and will be eager to listen to Lyrical Sutras in June.
Websites:
Donohoemusic.com Colin says: My personal website which features my albums and book. It will also feature my new album when it comes out this June “Lyrical Sutra’s” (you’re the first to print this, it is a New Age Star exclusive)
Pangeanorchestra.com Colin says: My new orchestra. It is the first of its kind that I know of where it combines instruments from around the world
Myspace.com/donohoe2 Colin says: pretty self explanatory. I try to keep it updated.
On Twitter Colin’s user name is PangeanOrch
Here is a list of Colin’s past and current positions related to orchestral music:
2008-present: Artistic Director for Pangean Orchestra in Phoenix AZ.
2006-present: Professional recording artist.
2008: Published Author of Odd Meters for Drum Set
2004-2006: Executive/Artistic Director for New Moon Orchestra Pittsburgh PA
2003-2004: Percussionist with the Phoenix Chinese Orchestra
2000-2003: Music Teacher
1996-2004: Free lance jazz drummer in Phoenix Arizona.
Interview with Marc Enfroy
BT Fasmer (*) of NewAgeMusic.nu has interviewed Marc Enfroy about his new album Unbounded:
* I read on your homepage that Unbounded was created after you suffered a terrible loss. Please tell us about this, and how composing music helped you in a difficult situation.
Marc: That’s very true. My older sister, Suzanne, was diagnosed with melanoma cancer in August of 2005 and passed away in February of 2006. It all happened very quickly and was absolutely devastating. The last few years of her life, Suzanne had taken up painting – acrylics and watercolors – and became quite skilled. She left behind over 200 paintings and the artwork has been a source of comfort to the entire family. Aside from her beauty, courage and selflessness as she battled the illness, her paintings are her lasting legacy. This got me thinking that I should follow in my sister’s footsteps and create my own artistic legacy. So, I decided to start composing.
Writing music helped me by providing an outlet for my grief: at times an escape and at other times an expression of my sorrow. It also gave me something positive to pour my emotions into. The first song I wrote was a grieving song titled, Taken Away (track 7 on the album). It’s my attempt at a short soundtrack depicting my sister’s final hours: the dread of what was to come, the reverence of the experience, the heartbreak, and the sudden finality of it all when she was gone. Over time, as the grief lessened, I was able to write music with more positive feelings, such as the title track, Unbounded or Night on the Seine.
* The process of creating a debut album is long. How do you feel now that it is out? And how has it been to meet your audience for the first time?
Marc: It’s been quite an adventure. Early on, I tended to romanticize what it would be like to finally release the album, not thinking about the hard work involved in the initial launch and promotion of a CD. Now that it’s out, I’m definitely relieved and also excited about the response so far. It’s been really fun making connections with people who are moved by the music. I’m finding many music lovers that enjoy relaxing new age music but aren’t fans of most “spa” music that’s devoid of emotion. In addition to that, they also want music with a fuller sound and more passion than solo piano. Then there are the people who like themes from film soundtracks but not necessarily the lengthy background filler that doesn’t make for good listening when isolated from the film itself. So, these are all gaps I’m trying to fill in the new age music genre – writing music that is relaxing like spa music but at the same time grabs your heart and mind with emotional and visual experiences like film soundtracks.
Being relatively unknown at this point, I try to make new connections with music fans by letting them try out a quarter of the album for free. This gives them a risk-free opportunity to become more familiar with my sound. Most people who become curious about my music end up buying the CD after they’ve had some time to sample the free music. So that part has been really fun – watching people progress through the phases of not knowing anything about me, then becoming curious, followed by their pleasant surprise when they realize they love the music and then finally becoming true fans.
I also enjoy connecting with people on my brand new message board community, Secret Island. My most staunch fans are clamoring for a Christmas album which is a definite possibility for my next album in 2009. It might be fun to put a cinematic twist on some of the old favorites.
* You describe your music as “Cinematic Piano”. When you compose music, do you use images or movie scenes as inspiration?
Marc: For sure. I chose the term “cinematic piano” because early on, everyone told me the music was visual and sounded like something from a movie scene. That said, the images don’t necessarily pop into my head before I write the music. Sometimes they do but other times I’ll write a melody first and the imagery comes later. For the track Taken Away, visions of my sister’s final day were prominent in my mind and inspired me to write the music. Contrast that with Empire Bluff which is named after a beautiful, panoramic place. It was initially a melody I wrote and liked. As I was completing it, I realized that it took me away to a place full of beauty and awe, so I named it after a cliff that has stunning views of Lake Michigan.
What I love about composing cinematic music is that it takes each listener to a different place in their mind and heart. It’s a personal reaction or experience triggered by what they hear in the music. The destinations are all unique but extremely meaningful to each listener.
* Tell us about the instruments and equipment you use. Do you play on a keyboard/synth, or do you compose through a sequencer – or both?
Marc: A bit of both. I use a Yamaha Motif synthesizer for a few of the sounds and computer based samples for the orchestral instruments and piano. It’s all sequenced in Cubase. I have an extensive computer background which makes it come fairly naturally; that coupled with a healthy dose of patience to agonize over every note. I tend to make compromises in favor of realism. For example, I might be working on a string section and find that I can’t make the strings sound real enough for my taste so I may replace it with another instrument or layer another solo instrument on top of the string section to make the piece sound more authentic.
* There is a close link between movie scores and classical music. Do you listen to classical music?
Marc: I don’t as much as I used to. In my twenties I listened to Tchaikovsky, Mozart, Beethoven, Bach, Dvorak, to name a few. Tchaikovsky is still my favorite classical composer because a lot of his work is strongly emotive stuff. More recently, I’ve been a fan of film composers like James Horner and Alan Silvestri. As I mentioned earlier, the thing I dislike about soundtracks is the long stretches of background filler that you have to listen to until the good part comes. With my music, I strive to write short pieces that are more reminiscent of those “good parts” heard in soundtracks: the main theme that haunts you after the movie is over.
* Will you continue as an independent artist, or would you sign a record deal if it was presented to you?
Marc: I wouldn’t turn down a record deal if it was constructed in the right way. It would all depend on the terms.
* Thank you Marc for taking the time to answer these questions!
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