No Buddha Lounge is complete without the Gordon Brothers, and on this album they have contributed with three tracks, Champaign Currents, Rain In The Sun and Cobalt Transport. The collection opens with Jens Gad/Achillea’s Vivir and is followed by Tya’s Lizard.

Another notable track is Paul Heinerman’s masterful Chimengu, which has become a modern classic in the new age music genre. It is one of the most beloved songs on online radio channels, and is a pillar in Paul Heinerman’s already impressive discography.

So yes, the 7th installment in the Buddha Lounge series is very welcome indeed!

BT Fasmer: Seven years have gone since the release of Private Sun. Please describe the process behind your new album, Oases. Has your approach to music changed over these last seven years?

Paul Heinerman: The similitude in approach in composing the albums Private Sun and Oases, is intuition. For me, composing a song or an album is not a systematical process. Most songs arise by intuition and associations on themes I discover in the process of composing a song.

The difference between the two albums is that Private Sun is more or like a compilation of songs I composed over a certain period and Oasis has a special theme. From the album Private Sun, I was touched most by the atmosphere created in African Forest and Spirits of India and decided to compose an album with tracks like these. Intuition is not only inspiration from within, but also a result from external influences and possibilities. In the seven years between Private Sun and Oases I started working with new studio equipment. The new possibilities andhigh quality samples have inspired me a lot.

BT: You chose to release a single from Oases, Chimengu, long before the release of the album – and it became a massive hit on web radios. This must have been an inspiration when finishing the album? How do you feel about it now?

Paul: The first result, of these new technical possibilities and inspiration from the ‘world songs’ on Private sun, was Chimengu. A combination of modern western beat, synths and Chinese (sample) vocals. It is a quite different song, compared to my work up to then. I was curious how this style would be appreciated by listeners and therefore I sent the song to several web stations, as an introduction / teaser for a new album in this style. The great success on the internet radio stations surprised and cheered me. It also convinced me that the musical integrative path I chose was not only the right one for me but listeners approved of it as well.

BT: Oases is like a musical journey to many parts of the world, from the Far East to the West and back again.  Please tell us about your inspiration for using so different cultural expressions?

Paul: During the ‘70 and ‘80 I made several journeys, to India, Thailand, Turkey, Tunisia etc. I was touched by the atmosphere and local music in these countries. All this has influenced my feelings and thoughts and through that, my music. Music is a way to express yourself as an individual and besides that, musical traditions give expression to culture. I found that music, by itself finds a way and cross borders to touch people. The synths and samples gave me tools to compose musical journeys and bring cultures harmonious together.

BT: On Oases there are voice samples on the first eight tracks, while the three last are without samples and more like your “old” style. How have you worked with samples?

Paul: I presume ‘my old style’ will always be present. It is like my basic musical language. It will be there as a base line in every song even if specific styles are more prominent, like the more up-tempo beats and voice samples in Oases. These samples are from special sampling CD’s. I selected these because they pleased me and they were suitable for the ethnic concept and atmosphere of the album. I composed the music around the voices.

BT: One cannot avoid thinking of Enigma when one hears Gregorian chants and synths. Please tell us about your inspirations for Oases. Do you listen to new age music – or other genres as well?

Paul: Associations of my music with Enigma feel like a compliment, I like this music very much.

My first steps on piano keys are the result of deep appreciation of the music of Elton John. As I am told, people regularly recognize his style in my play, especially in my first album Ancient World.

My musical interests are wide. I like various types and styles of music.
Major examples in past and present are: Peter Gabriel, Genesis, Vangelis, Steve Winwood, Deep Forrest, the Beatles, Kate Bush and lots of others. But I do value classical music as well, with Sjostakovitch undoubtedly as my favorite composer. And of course I listen to New Age music and appreciate in this genre Yanni and Suzanne Ciani.

A musician that inspired me specifically in respect to Oases, is Harry Gregson-Williams. Several years ago I heard his ‘All hell breaks loose’, the soundtrack for the film Spy Games. This and the other songs in the movie affected me. The western synth with world vocals were the combination I was working on as well and he created the atmosphere sphere I was looking for.

Most songs arise by intuition and associations on themes I discover in the process of composing a song.

BT: Your first two albums had much of that analogue synth sound. Will there be more of that in the future?

Paul: I am quite sure this sound will stay present in my work. Personally I am very fond of songs like Across The Ocean. Of course I like to develop as a musician and enter different musical pathways, but I expect this will continue to be alternated and interlaced with basic analogue synth sound.

BT: Your music has been used in many different settings, from boardprograms on airlines, to TV shows. Do you plan to do more of this kind of work – or will there be more albums like Oases? Or both?

Paul: As for me, both kinds of work will continue. For this specific moment I am busy to make library music again (for film, documentaries and commercials). One moment you are engaged in a lounge music song and some time later you compose a pop- or Latin song. This is very fun to do and it guarantees that you will not keep on composing in a fixed style or routine. While composing these library tracks I am concentrating on and exploring specific styles in music. In these pursuits I often find inspiration and possible combinations with my own basic musical style for new songs. So probably in the future a new album can be expected.

BT: Thank you so much, Paul, for giving us this interview. I know I speak on behalf of many new age music fans out there; keep creating great music. We love your work!

Be sure to check out PaulHeinerman.com Oases is available on all major digital music outlets.

Picture copyright Bigstockphoto.com – Himalaya Images

Oases is Paul Heinerman’s third album on the Prudence label. His fans have been waiting seven years for the follow up to Private Sun (2001). Previously his style has been close to the good ol’ sound of analogue synths (sample the gorgeous Back to the Highlands from Private Sun to see what I mean, he is a keyboardist after all), while this time around he presents a modern, sequenced sound. Oases shows that Heinerman masters both disciplines, which bodes good for future albums from this fine Dutch artist.

Rarely a new release contains a song that’s already a modern classic – but this is the case with Oases! Paul Heinerman released the single Chimengu almost two years ago (much like the early release of Enigma’s Hello and Welcome from A Posteriori), and the song has been played extensively on web radio stations ever since – and the response has been unanimously positive. With this song fans got an early glimpse into what now has become Oases.

The album contains 11 tracks, all between 4 and 5,30 minutes. It starts with the song Porta Mundes, which is as beautiful as it is eerie; the pads sound both divine and foreboding while the rhythm is almost too slow to imitate a healthy heartbeat. The female, angelic voice synth enhances the effect; it is a slow, yet very dramatic opening. The Indian (?) samples fit in perfectly.

And speaking of samples; ethnic fusion is nothing without samples (the most famous examples are of course Deep Forest’s massive hit Sweet Lullaby and Enigma’s MCMXC a.D.). On the cover of Oases Heinerman tells us the names of the sample collections used, which I find to be something all artists should do – as long as they themselves have not been in the field (or studio) and recorded the samples. But another thing I have to mention about the samples is the mixing of Western (Gregorian) and Eastern (Indian and Chinese) samples. Someone might object to this, but I find it to be an interesting and quite different cultural mix.

Oases is perfectly blending modernity in all its shades, illustrating the melting pot of East and West.

The track Homines Regnum is another winner. The strings sound like Vangelis, and the Gregorian AND Indian samples are just right for this soundscape. The rhythm is catchy and the mixing is nothing but masterful. Again; this is ethnic fusion at its best.

The musical voyage continues to Africa (track 4), China (track 5), Japan (track 6) and all the way up to India (track 7). The three last tracks, Across the Ocean, Indian Sunrise and Oasis, are without samples, and more like Heinerman’s previous two albums – with nice keyboard leads and bright piano melodies. Old fans will feel right at home! Still, after 10 simply incredible tracks, Heinerman does not deliver a disappointing title & ending track. The sax on Oasis reminds me of the sax on Mike Oldfield’s Misty (from Tr3s Lunas). It is a meditative and dreamy song that makes a perfect ending to the album.

All in all Oases is a fantastic album. It is a true find, like an oasis in a desert. Believe me; your dehydrated soul will be refreshed. My hope now is that it will not be 7 years till next time a Heinerman album is released. That would be a desert walk with no oases in sight.

Go to PaulHeinerman.com for samples.

Picture copyright Bigstockphoto – Moritz

It is seven years since Paul’s last recording, Private Sun, was released. Tracks from this album have been among the most popular on our web radio station New Age Stars. The track Back to the Highlands has received over 1.300 “thumbs up” from our listeners. Heinerman has also been very popular on Radio Mystic; his song Chimengu was played daily one year straight. This song will be on the upcoming Oases album.

As much as we love the summer here at .nu, we can’t wait for fall to come – because this is when Oases will be released.

Oases is without a doubt one of this year’s most important new age music releases.

For more information, check out Paulheinerman.com

If you are a Radio Mystic listener you probably already have heard one of the songs on the album, the incredibly popular Chimengu. It is dreamy song with an interesting beat and a nice use of vocal samples. It is already a hit, with over a year of playtime on Radio Mystic.

We have received an exclusive listen to two other tracks of the upcoming album: Porta Mundes and Hominus Regnum (nice enigmatic names, don’t you think?). Porta Mundes is a quite dark and slow song, but is at the same time beautiful in an eerie way: like looking into an abyss of flames. A powerfull song indeed. In Hominus Regnum there is a mix of Gregorian chants and Indian (?) samples. Some might say that you shouldn’t mix the sound of East and West in this way, but I think it creates a truly unique atmosphere.

Oases is an exciting new chapter in Paul Heinerman’s discography. This time it is all about ethnic fusion and powerful rhythms. I almost can’t wait for the complete album to be released.

Check out Paulheinerman.com for more information.