Atlantis Rising is the title song from a CD by San Francisco Bay area recording artist Michael Diamond with special guest Steven Halpern.

The song was composed by Steven Halpern on keyboards and includes Michael on guitar-synth and E-bow guitar.

This music video by award-winning film maker Ken Jenkins, is a selection from his latest DVD entitled Illumination 2. Most of the visual effects on the DVD are not computer generated, but were created by optical projection devices which Ken designed and built.

Part 1 of the Illumination 2 soundtrack features over an hour of ethereal electronic music by Michael Diamond with a guest appearance by Steven Halpern and part two is set to the ambient soundscapes of Sylken from Toronto, Canada.

More info here.

You may download the recording as a free MP3 85 meg or full bandwidth 1.1 GB aiff.

Free MP3 download

Description:

The Tree Of Life is a continuous 61 minutes of music, inspired by two trips to see the redwoods of the Yosemite Valley in California. Some of the trees there are over 2000 years old.

Inspired by the space of where time is slow and bends over centuries, the sound of this project emerged.

Tracks:

• Part one: The seedling
• Part two: Heaven above the canopy
• Part three: Half Light *
• Part four: Immortal
• Part five: The gentle giant
• Part six: Speaking to trees
• Part seven: Shanti, Shanti, Shanti

Music composed, produced, recorded, mixed & performed by: Michael Whalen

Electronics, ambiences, piano, keyboards & programming: Michael Whalen

Vocals; Amanda Homi

About Michael Whalen

Whalen has more than 500 television scores and dozens of feature and short film credits to his name.  He created the uplifting opening theme to the ABC News morning show “Good Morning America”, music for the “Oprah Winfrey Show”, Martha Stewart and the news magazine “Inside Edition”. He is a two-time Emmy award-winner and a multiple Emmy-nominated composer, music supervisor and sound designer. His most recent Emmy was in 2008 for PBS’ 8-hour “America at a Crossroads” series. You might have also heard his sprawling score to the acclaimed four-hour 2005 PBS series “Slavery and the Making of America” or his  music for the 2004 indie film “What the Bleep Do We Know”? His music is currently featured on over a dozen shows including the CBS/P & G soap opera, “As the World Turns”.

via Travis (hiddenplace on Twitter)

Videographic Modulations for Meditation and Visualisation – music and visualizations by Jeffrey Siedler, from 1995.

via JeffreyPlaide:

Shortened from its original 21-minute version, this work is a visual and aural meditation.

The abstract images were intended to instill a calm, giving the mind a focus, much as would be accomplished by focusing on a mandala. The ambient music underlying the imagery was composed to create a relaxation of the body and is of a suitably unearthly surreal quality to bring about an aural complement to the animated visuals.

The images and music represent levels that transcend the world of appearances, the world of this reality. The images describe the harmonic patterns of the natural universe.

Created by analogue video synthesis, the imagery results in a complex cascade of dynamic modulating waveforms.

Greg Aranda’s Improvisation with Piano and Electronic Keyboard, Jan. 3rd, 2009 brought to mind the work of Steven Halpern.

Aranda’s video suffers from cheapcam syndrome and some interesting tuning, but it also captures a slice of the world of musicians that are creating new music, guerilla-style, and sharing it on the web.

via gragroon:

Greg Aranda : Piano & Casio CTK-650

Recorded live in Sunnyvale, CA, Jan. 3rd, 2009

Videography by Greg Aranda using Flip VideoUltra

©2009 by G.R. Aranda / Sea Goat Productions

Niladri Kumar’s Priority is an interesting new-age/space music track, and it’s got a really nice animated music video.

Kumar plays the Zitar, and electric sitar, and the DnB tabla is kind of cool, too.

Here’s something for the new age fans out there – the video for synth pioneer Suzanne Ciani’s The Velocity Of Love. 

Ciani was one of the first people to explore the world of commercial electronic sound design, and more recently has been creating melodic new age music. 

The video comes from a collection of music videos called Natura Poetica. It is available from Ciani’s online store.

If you’re a Synthtopia reader and you’re not checking the Free Music tab every now and then, you’re missing out. Every week, we’ve got free music for you, like the motherload of free Moog downloads last week, the DJ mixes of Noah Pred or the free music from Synthtopia readers. 

Today we’ve got a voluptuous helping of sensual ambient and space music courtesy of AD Music, a label that specializes in ambient music, synth music and space music:

You’ll find complete tracks up to 8 minutes long (or 8 minute edits if longer pieces) from albums old and new plus exclusive tracks not previously available. We’ll even be adding sneak previews of forthcoming music. So the page will be in a constant state of flux, with music being added and occasionally deleted from the selection.

All MP3’s are at 160kbps.

Here are a few examples from AD:

Check out the AD Music download page for 40+ free tracks!

Note to AD: The only way you could do this better would be to offer a podcast RSS feed for your tracks. That would let fans subscribe to your free music feed with iTunes and get AD music automatically delivered to their computer and iPod.

By letting people subscribe, you’d be rewarding them for being fans of your music, while also teasing them with samples from your latest releases. 

Also – if you’re putting free music on your site, you should explicitly tell podcasters that it’s OK to include your music in podcasts as long as they give credit to your musicians and link back to your site. Free publicity!

Image: ~jjjohn~

It’s science: chill out music music is good for you

According to research presented at the American Society of Hypertension’s Twenty Third Annual Scientific Meeting and Exposition (ASH 2008), listening to just 30 minutes of rhythmically homogeneous music every day can significantly reduce high blood pressure.

By rhythmically homogeneous, they mean music with little or no variation in rhythm; they tested with classical music and Indian raga music, but the research offers some medical validation to Stephen Halpern’s pioneering new age music, Brian Eno’s ambient music (which he conceived while bed-ridden) and more recent chill out music.

Researchers found that patients with mild hypertension who listened to just half an hour rhythmically homogeneous music a day for four weeks experienced significant reductions in 24-hour ambulatory blood pressure (ABP)

“Listening to music is soothing and has often been associated with controlling patient-reported pain or anxiety and acutely reducing blood pressure,” said study investigator, Prof. Pietro A. Modesti, MD, PhD. “But for the first time, today’s results clearly illustrate the impact daily music listening has on ABP. We …. can now confidently explore music listening as a safe, effective, non-pharmacological treatment option or a complement to therapy.”

Unfortunately, the research was limited to  testing the positive benefits of “soothing” music, so we can’t tell if listening to techno is just as beneficial, or if it’s likely to send your heart into a hypertensive spasm.

Research Details

Hypertension is a common disorder in which blood pressure remains abnormally high (a reading of 140/90 mm Hg or greater) and is responsible for causing at least five million premature deaths each year worldwide

A total of 48 patients aged between 45 and 70, all with mild hypertension and using pharmacological treatment, took part in the study. Of these, 28 patients aged between 45 and 69, listened to 30 minutes of classical, Celtic and Indian (raga) music per day while conducting slow, controlled abdominal breathing exercises. Twenty patients of comparable age, blood pressure values and antihypertensive treatment served as the control group. All patients underwent ABP monitoring before randomization (baseline) and one and four weeks after treatment allocation.

The study results revealed a significant systolic ABP reduction in those patients who had been listening to music daily (-3.2±5.6 and -4.4±5.3 mm Hg, p<0.01 vs baseline for both) at one and four weeks respectively. Only small, non significant BP reductions were revealed via 24-hour monitoring of the control group. The effect on systolic blood pressure was independent from changes in heart rate because no differences between groups were observed in 24-hour mean heart rate.

“Sadly, despite the global focus on prevention, it predicted that 56 billion people worldwide will be hypertensive by 2025,” said Modesti. “In light of these devastating statistics, it is reassuring to consider that something as simple, easy and enjoyable as daily music listening combined with slow abdominal breathing, may help people naturally lower their blood pressure.”

Image: KristenV

The music is ambient music in the tradition of Western US ambient artists like Michael Stearns, combining slowly evolving synth textures, bell-like timbres, and other beautiful sounds with cavernous reverberation effects.

The music has a mystical religious element, too, with Latin lyrics and phrases incorporated in subtle ways. The combination results in a sort of ambient liturgy.

Verner and Martin start the CD with a Kyrie. They layer freely sung Kyrie’s and Christe’s over slowly shifting synth textures & cathedral-like reverb. The rest of the CD follows in a similar vein, with freely sung Latin words and phrases layered over shifting drones and synth pads.

Anno Domini captures the spirit of the CD in one track. It starts with the sounds of church bells ringing and then introduces synth strings and pads that drift over each other. On top of this, Martin sings, chants and whispers “Anno Domini”, giving the music a sort of abstracted religious quality.

Throughout most of the CD, the music is pulseless or is very freely performed. The instrumentation and arrangements are similar from track to track, so that the music is never jarring.

The CD reaches is nicely paced, with a peak close to the end with Dona Nobis Pacem (Give us peace). This track has more of a live band feel, with a regular pulse, percussion, guitar and vocals giving it drive.

Deborah Martin & J.A. Verner’s Anno Domini is a deep ambient work that evokes the ancient mysteries of forgotten rituals. It’s another solid ambient release from Spotted Peccary, a label that seems to get stronger with each release. The CD should appeal to fans of Michael Stearns, Steve Roach and other Western US ambient artists.

You can preview tracks at the Spotted Peccary site.

Tracks:

• Kyrie
• Spiritus
• Anno Domini
• Vicis Pro Vicis
• Illuminata
• Dona Nobis Pacem
• Inter Astrum

Fox describes himself as “master of the grand soundscape and one of the UK’s leading exponents of melodic orchestral instrumental music”. He’s released twelve solo CDs and also works with label mate David Wright as part of Code Indigo.

Most of the music on Touching the Serpent’s Tail is symphonic electronica, with some tracks leaning more towards new age and others more towards ambient electronica.

Throughout the CD, Fox creates masterful synthesized orchestrations. He draws on analog-style synth voicings, sample-based synth textures, vocal samples and effects to create arrangements that are frequently very beautiful.

The highlights of the CD are the more ambient sections. On tracks like the fantastic kick-off track, Earth, Fox wows you with majestic but subtle synth orchestrations. Earth is an exceptional track, and a great example of symphonic electronica.

Another highlight of the CD is the reflective Of A Time Gone By. The track introduces a hymn-like progression, and then repeats it with added elements. First Fox solos over the backing, using a sax-like synth timbre. Next, Fox layers sampled Gregorian chant over it. He ends the track with a final variation which combines the chant and sax variations.

After the stunning first track, Fox moves more into melodic new age territory. These tracks showcase Fox’s ear for gorgeous synth orchestration, but the standard rhythm tracks make them less memorable. Instead of the rhythm tracks propelling the music forward, they often seem to slow the tracks down and make them feel rigid. One example is Strange Voices in Ancient Tongues. On this track Fox mixes in some sampled Gregorian chant and drops it in over a drum track. The drum track competes with the freeness of the chant instead of supporting it.

All in all, though, Touching the Serpent’s Tail is a very nice melodic new age release. When Fox focuses on the creative synth arrangement, though, the music is frequently gorgeous, making us wish for more synth orchestration and less pop new age arrangement.

“Fusing world music with electronica has become quite popular,” Duc said. “Often artists choose Middle Eastern or African themes. I was interested in the possibilities of mixing Celtic motifs with ambient, trance and electronica.”

Duc shows an ear for attractive melodies and orchestration. She uses sampled virtual instruments for melodies throughout the CD.

While this expands the range of sounds, you can’t help but think that her melodies would have sounded more lyrical played on the actual instruments, and that other musicians could have helped bring the music to life.

You can preview Duc’s Essence of Dreams below, and find out more about her and her music at her site.

Tracks:

• Essence of Dreams
• Dancing in The Mist
• Evocation
• One Autumn Day
• Secret Sanctuary
• Heart of Andalucia
• Midsummer Twilight
• Incense
• Rivulet
  In The Light of Day

“Our hope was that our free service would be an on-ramp to the full Archive service,” said Hill, “but many found that the free weekly show was enough. We’ve done the math and much as we’d like to, we just can’t afford to support it any longer. We could keep it free by adding advertising, but really — no one wants that on HOS programs. So we’re phasing in modest “pocket change” charges for on-demand, anytime access to the weekly program.”

After November 20th, 2006, the weekly show will be free on Sunday only. Weekly program access via the site is now $30/year, or about 57¢ a week.

InTRO

Sanfilippo claims the like of Wendy Carlos, Vangelis and Mike Oldfield as influences. The music of Intro, though, is more reflective and ambient than these influences would suggest.

Sanfilippo describes the tracks on InTRO as soundscapes. Sanfilippo masterfully combines synthesizers, keyboard, environmental sounds and a variety of acoustic instruments to create music that brings to mind the environmental soundscapes of Steve Roach and the dark ambient music of Brian Eno.

The CD collects seven tracks. Each track’s name starts with InTRO and then is completed by a word or phrase that seems to relate to the track. InTROworld, for example, has a world music feel to it, layering pulsing synths with percussion and exotic string melodies. InTROpiano, on the other hand, is solo processed piano, with synth and electronic effects accompaniment.

From the start, InTRO sets a relaxing, reflective mood. While each track on the CD has a very unique feel to it, Sanfilippo maintains a consistent mood, which means the CD makes an ideal sountrack for relaxing and thinking.

Eno has suggested that ambient music must be listenable as well as ignorable, supporting various levels of attention, and the tracks on InTRO are excellent examples of this idea. While the music on InTRO is often beautiful, it doesn’t have the glossy surface charm of some new age music, but a deeper, mysterious attraction.

Highlights of the CD include InTROpiano, which recalls Vangelis Memories of Green and the Brian Eno/Harold Budd classic, The Pearl; and InTROvoices, which uses wordless voice sounds to create a choral and even orchestral texture.

Bruno Sanfilippo’s InTRO is one of the finest ambient releases we’ve heard this year. It’s not widely distributed, unfortunately, but is available via the AD21 Music site, where streaming previews are also available.

Tracks:

• InTROworld
• InTROmental
• InTROsacro
• InTROpiano
• InTROvoices
• InTROvisions
• InTROpassion

The Hearts of Space radio program has been syndicated to over 350 public radio stations since 1983. It is now heard on over 220 NPR stations each week and 7 nights a week on XM Satellite Radio, AudioVisions 77, as well as a growing online audience.

The program has created its own format: an “ambient before ambient” mix of atmospheric electronic spacemusic, ethereal jazz, classical adagios, and the best of world, new age, sacred and contemplative music from dozens of cultures. The overall sound is quiet and refined with seamless continuities between pieces to create a contemplative experience.

Content of the service includes the HOS archive of over 730 radio music programs going back to 1983, plus a new section of core format-related albums for streaming. Downloads for licensed albums and tracks will follow this fall as licenses are obtained. HOS is a legal, fully licensed service.

The service allows listeners full on-demand access to the entire archive of radio programs and albums and features a flexible set of transaction options, from unlimited use subscriptions to non-subscription “measured use” plans from 300 to 1200 minutes (about 5 to 20 shows). Prices for full archive access include a one-time $2.95 intro, $6.95 and $9.95 packages, and a $12.95 per month unlimited access plan. The current week’s show is available free for on-demand streaming after a simple site registration.

Hearts of Space

Brannan Lane

Lane has a number of solo releases and has collaborated extensively with Ashera, Amir Baghiri, Robert Carty, Vidna Obmana, Biff Johnson, Zero Ohms, Jason Sloan, and Matt Borghi.

Lane has been featured on “Music From The Hearts Of Space”, “Star’s End”, “Musical Starstreams”, “Emusic”, “Echoes”, and other radio shows.

Lane also holds the #1 spot in the “Top Releases Of 2002″ – Ambient Navigator. Five titles on the “Best Of Year” – Backroads Music. #1 and #2 “Best Selling CDs Of 2002″ – Space For Music Records. “Top 10 Ambient CDs Of 2003 – Electroambient Space Magazine. Charted on Wind and Wire’s 10 Favorite Ambient Recordings and also has tracks on the new Emit Records and Electro Shock Compilation CDs.

His web site, www.brannanlane.com , has audio samples, reviews and an online store.

Discography:

PIANO DREAMS & NIGHTSCAPES – Brannan Lane
Ambient electro acoustic music
Label: Ambient Circle Music

DISTANT FRIENDS (A Compilations Of Collaborations)
Amir Baghiri, Robert Carty, Biff Johnson, Brannan Lane, Vidna Obmana, Zero Ohms & Silvercord
Label: Ambient Circle Music

LUCID CIRCLES – Amir Baghiri & Brannan Lane
Long awaited release now available! Featured on “Music From The Hearts Of Space” radio.
Label: Ambient Circle Music

SEXTANT – Brannan Lane / Ashera
Featured on “Star’s Ends” Radio. Top 10 Ambient CDs Of 2003 – Electroambient Space Magazine
Label: Lane/Wright Production

SLEEP CYCLE – Brannan Lane
Best Of Year – Backroads Music. Featured on “Music From The Hearts Of Space” radio.
Label: BrannanLane.com Music

DEEP UNKNOWN – Brannan Lane with Vidna Obmana
Featured on “Star’s End” radio. Best Of 2002 – Backroads Music.
Label: BrannanLane.com Music

LOST CAVERNS OF THERA – Brannan Lane (Thera is the Greek word for fear.)
Featured on “Music From The Hearts Of Space” radio. Best Of 2001 – Backroads Music.
Label: World Circle Records

TRIBAL SPIRIT – Brannan Lane & Tom Larson
Best Of 2002 – Backroads Music. Top CDs Of 2002 – Ambient Navigator
Label: BrannanLane.com Music

HYPNOTIC DRIFT – Brannan Lane
Best Of Year – Backroads Music.
Label: BrannanLane.com Music

SOUNDFALL TO THE INFINITE – Zero Ohms & Brannan Lane
#1 Best Selling CD 2002 Space For Music Records. Top CDs Of 2002 – Ambient Navigator
Label: Space For Music Records

IMMENSE DISTANCE – Zero Ohms & Brannan Lane
Follow up to the #1 selling Soundfall To The Infinite. Best Of 2003 – Backroads Music
Label: Space For Music Records

TO EARTH AND BACK – Brannan Lane
#2 best Selling CD 2002 Space For Music. Top CDs Of 2002 – Ambient Navigator
Label: Space For Music Records

ESCAPE VELOCITY – Brannan Lane
Follow up to the #2 best selling To Earth And Back from Space For Music Records
Label: Space For Music Records

CLIMATIC INFUSION – Robert Carty & Brannan Lane
#1 Ambient CD Of 2002 – Ambient Navigator. Best Of 2002 – Backroads Music
Label: BrannanLane.com Music

RELAXING EFFECTS OF WATER – Brannan Lane
Best Of Year – Backroads Music. Top CDs Of 2002 – Ambient Navigator
Label: BrannanLane.com Music

TROPOSPHERE – Brannan Lane (Soundtrack For Your Head)
Ambient debut!
Label: World Circle Records

Shibu Narendran records as The Law of Miracles, and his music is perfect for relaxation, meditation and just chilling. The Law of Miracles’ music is a blend of western and eastern music, using instruments like indian flute, shakuhachi, harp, piano and Rhodes, and combines dreamy sequences with bass grooves and rhythmic beats.

Narendran feels that “good and happy music can change the mood of individuals positively”.

Download free MP3s of the latest tracks from The Law of Miracles.

Halpern manages to avoid rhythm and blues cliches, and also avoids creating music with no soul. Instead, the music on Deja-Blues seems inspired by the underlying ideas of soulfulness and reflection that the blues often captures.

If you’re familiar with Halpern’s music, you’ll know that it’s usually very slow and without a regular tempo. He usually plays a combination of synthesizers and electric piano and uses reverb to create a sense of deep spaciousness. His music always has a surface glossiness, because he avoids anything that draws attention directly to the music or the musicians. There’s rarely anything that sounds virtuosic, even though the music is skillfully played and produced.

On Deja-Blues, Halpern explores some new territory. The album draws upon elements of some of his older recordings. As he tells it, he was in his studio in 1998 transferring some of his old reel-to-reel tape to digital format, and came across the master tapes of some tapes from 1977. Listening to them, he found himself drawn into the music, and also imagining new arrangements for it.

He decided to make new music using some of these source tapes. In doing so, he took the music in a new direction, adding bass and making it more rhythmic and soulful. He called upon several musicians to add percussion and other elements.

One of the most important elements he introduced was the vocalization of Melissa Phillippe. Phillippe sings wordlessly, and her improvisations combine middle eastern elements along with some blues stylings. The result creates takes Halpern’s peaceful music, and gives it more sensuality and soulfulness.

The music is extremely relaxing, and, like other Halpern recordings, is perfect for meditation, reflection or massage. However, unlike most of his other music, it also has a regular pulse which gives it a greater sense of activity and focus. The result is relaxing music that awakens your senses.

Chariots of Fire captures Vangelis at the peak of his early sound. While no one will have escaped the catchy main theme, there is a lot of other music on Chariots of Fire that is not as well known, but that holds up well after twenty years. The first five tracks introduce the main themes that were used in the film. After the “Titles”, “Five Circles” is a quiet, pensive them. It’s played with a synthesized brass sound that sounds vaguely like a french horn. “Abraham’s Theme” is another reflective song. It’s played with the bell-like tone of Fender Rhodes piano. The main theme is simple and folk-like. Vangelis adds tension by adding a variety of strange synth sounds in the background.

“Eric’s Theme” is classic Vangelis, with a simple melody supported by synth strings, wordless vocals, and orchestral percussion. The music is tastefully arranged, and is one of the best examples of Vangelis creating a large orchestral sound by combining synthesizers with acoustic percussion. “Eric’s Theme” builds to a huge crescendo, and then modulates to another key and builds to another great crescendo. This track captures the full glory of the Olympics.

The next cut is the abstract “100 Metres”. This cut sounds like it could be straight off of Vangelis’ CD Beaubourg. This abstract music captures the tension and focus of the runners as they prepare for, and run their races. This fades into the next track, “Jerusalem”, which is a straightforward take on the traditional tune.

The highlight of the album is the long track “Chariots of Fire”. This music is inspired by the movie, but not taken directly from it. The music is a sort of new-age piano concerto or fantasy. The work is vaguely programmatic, inspired by the events of the movie.

It starts with the sounds of surf, and a synthesized french horn that plays the main title theme. The “Titles” them is then introduced on piano, with synthesized orchestral support. Vangelis treats it very freely and interweaves other themes from the movie. Vangelis captures all of the emotions of the movie, but puts them together into a grand symphonic electronic fantasy.

Chariots of Fire is a landmark of movie music, won the Academy Award for best soundtrack, and holds up well as a great example of symphonic electronic music.

Vangelis has a unique sound that is the result of his orchestral approach to electronics. His music could be considered symphonic electronica, because he often uses the unique sounds and capabilities of synthesizers in an orchestral way. His playing brings the electronic sounds to life by putting dynamics and expression into them.

Background

Vangelis showed his natural talent at an early age. By the age of four, he was playing and making up his own music. His parents exposed him to traditional music training, but he had little interest in this, preferring to follow his own inspiration. This lack of interest in traditional classical music infuses his work. While his playing is often quite virtuosic, he music does not explore the complex structures and development of classical music, instead focusing on creating new approaches to orchestration.

As a young man, Vangelis was in several rock bands. His band Formynx was popular because it was one of Greece’s first rock bands. With Demis Roussos and Loukas Sideras, Vangelis formed a progressive rock band, Aphrodite’s Child. They released several acclaimed albums, and had several number one singles in Europe. Their most significant release was the controversial double album 666. This was the first music that provides a taste of Vangelis’ later output.

In the early seventies, Vangelis recorded several soundtracks for the French director Frederic Rossif. He also released his first solo ablum, the progressive rock Earth. Earth continued some of the ideas that Vangelis explored on 666, such as chant-like vocals, serious lyrical themes, and a more orchestral rock feel.

In 1974, Vangelis moved to London. He signed with RCA and build Nemo Studios, a large recording studio with 24-track capabilities. This is where Vangelis created his unique sound, and some of his most important work. His work at Nemo included Heaven and Hell, Albedo 0.39, Spiral and Opera Sauvage.

In the eighties, Vangelis developed a more mature symphonic electronica style. He recorded many solo albums, including See You Later, Mask, and Direct. His best known work from this time, though, is his soundtrack work. In 1981, he scored Chariots of Fire, for which he won an Oscar. His score for Blade Runner was a crucial element of the movie’s appeal. He contributed a tragic, minimal score to the movie Missing. His recording Antartica captures the music of a movie by the same name. He also contributed scores to The Bounty and other movies.

In the nineties through this day, his recorded output has slowed somewhat from his peak. Some of the recordings from this era include The City, Voices and 1492: The Conquest of Paradise.

Vangelis has colloborated with a large number of artists. Since the 1970’s he has worked with Jon Anderson of Yes. Their recordings together include Short Stories and Friends of Mr. Cairo. His recordings with Irene Papas, including 1986’s Rhapsodies, are beautiful, dramatic, and expressive. Other important collaborators include Demis Roussos and Montserrat Caballe.

Vangelis is still active, though not as prolific as in the seventies and eighties. He’s worked on several stage productions recently, and on a set of pieces linked to NASA’s Mission to Mars, Myghodea.

Their site features playlists of all their shows, information about the music and musicians, and offers streaming audio of past programs. Hearts of Space has published numerous new age recordings from electronic and acoustic composers.