On Atmosphere for Dreaming Steve Roach presents a masterfully realized immersive habitat that is instantly transportive, organic and alive. The verdant environment of hovering, sustained earthbound atmospherics comingle with a surreal processed Australian outback ambience resulting in a sonic ecosystem of tranquility and renewal. This 74 minute longform immersion zone is an evolution of the pre-concert soundworld that quietly permeated the performance venue before the start of the 2018 Return To The Dreamtime shows in Tucson and Santa Fe, as well as experienced on the SomaFM broadcasts of the concerts. This release also shares its intention and spirit with the longform classic The Dream Circle which was also born as a pre-concert atmosphere before evolving to its current state. Atmosphere For Dreaming is designed for infinite looped playback.
Radiant Mind is an artist working in anonymity with Steve Roach as the producer, interface and on this release, collaborator. Presented in 8 parts flowing forth in a continuous stream, HelioSphere embraces the sonic art form of pure space music - wondrous and expansive. Radiant Mind first discovered the calling to create with synthesizers by finding inspiration starting with the formative early days of the pioneering radio show Music From The Hearts Of Space. Over time, Radiant Mind’s desire would evolve to create a potent blend of soundscapes for personal healing and extended mediation sessions. Over the course of 2018, Steve carved on Heliosphere’s production, mixing and additional synth spaces; Howard Givens provides the final mastering.
This double-CD reissues the nine numbers from a former double LP, adding three previously unreleased tunes from the same Switzerland concert. The Steve Lacy Five (the leader on soprano, Steve Potts on alto and soprano, Irene Aebi on cello, violin and vocals, bassist Kent Carter and drummer Oliver Johnson) is at its best on scalar-based instrumentals such as the near-classic "Blinks." Some tunes utilize the voices of Aebi and Lacy, and these are often quite eccentric and for more selective tastes. But the many strong solos by Lacy and the highly underrated altoist Potts makes this two-fer of interest for followers of advanced jazz. This was always a well-organized and highly original group.
Steve Roach and Robert Rich are the most important electronic ambient musicians in the U.S. SoMa is their highly acclaimed follow-up to their first collaboration, Strata. Soma, according to Vedic writings, is "a drink made from plants which could help one commune with the gods." It is also the Greek word for body. So they designed this CD to be a vehicle to traverse between the physical and spiritual worlds. It is deep stuff. The soundscape offers listeners the opportunity to pursue and achieve states of ecstasy. The only extracurricular involvement is from the souls of the music and the listeners. The psychoactive atmospheres penetrate the defenses of the spirit and use Earth's resonant rhythms to tap into the biorhythms. From that point forward, Rich and Roach are in control. Listeners will go to the far reaches of the netherworld and stay within the limits set by this duo.
The Steve Miller Band is an American rock band formed in 1966 in San Francisco, California. The band is managed by Steve Miller on guitar and lead vocals, and is best known today for a string of (mainly) mid-1970s hit singles that are staples of classic rock radio, as well as several earlier acid rock albums. Steve Miller left his first band to move to San Francisco and form the Steve Miller Blues Band. Shortly after Harvey Kornspan negotiated the band’s landmark contract with Capitol Records in 1967, the band shortened its name to 'Steve Miller Band'.
Smart, sophisticated, and timelessly stylish, Steve McQueen (titled Two Wheels Good in the U.S. after threats of a lawsuit from the actor's estate) is a minor classic, a shimmering jazz-pop masterpiece sparked by Paddy McAloon's witty and inventive songwriting. McAloon is a wickedly cavalier composer, his songs exploring human weaknesses like regret ("Bonny"), lust ("Appetite"), and infidelity ("Horsin' Around") with cynical insight and sarcastic flair; he's also remarkably adaptable, easily switching gears from the faux country of "Faron Young" to the stately pop grace of "Moving the River."
In 1983, Steve Hackett fought an uphill battle for the release of Bay of Kings, his first album of solo acoustic guitar pieces. He ultimately did find a distributor, after several months. Rather than becoming disconcerted by the experience, Hackett determined never to shy away from his classical impulses in the future, and in 1988 he returned with Momentum, another album of mostly original acoustic guitar passages. As the title suggests, this album finds Hackett gaining confidence and proficiency in his guitar playing; he manages to play several complex pieces in a seemingly effortless manner. The songs are pleasant, evoking delightful imagery. Any admirer of acoustic guitar music will find this thoroughly enjoyable.