new age

This video captures Vangelis at what is probably his bombastic peak – performing Mythodea: Music for the NASA Mission: 2001 Mars Odyssey at the Temple of Olympian Zeus in Athens on June 28, 2001.

Mythodea was made the official theme music of the mission involving the NASA unmanned spacecraft orbiting the planet Mars.

I prefer Vangelis’s more electronic work – partially because it seems like a waste to have an orchestra of hundreds performing such simple stuff and partially because Vangelis has such a great ear for symphonic electronic orchestration. 

Let me know what you think! Read more…

We’ve mentioned binaural beats previously – illusory “beats” that you can hear when pure tones of slightly different frequency are separately and simultaneously presented to each ear.

It’s an interesting psychoacoustic effect – one that at least some people think can help you do things ranging from concentrating to opening your chakras.

Mainstream media has picked up on this so-called “digital drug”, though, and is offering hysterical coverage that recalls the days of Reefer Madness.

Check out what USA Today’s Kim Komando has to say about these new age-y audio files:

The sites claim binaural beats cause the same effects as illegal drugs. These drugs impair coordination and can cause hallucinations. They’ve caused countless fatal accidents, like traffic collisions.

If binaural beats work as promised, they are not safe. They could also create a placebo effect. The expectation elicits the response. Again, this is unsafe.

At the very least, digital drugs promote drug use. Some sites say binaural beats can be used with illegal drugs.

The sites also look favorably on the effects of illegal drugs. So, talk to your children. Make sure they understand the dangers of this culture. It could be a small jump from digital drugs to the real thing.

Yeah – talk to you kids, Kim Komando. And while you’re at it, tell them that Mom’s a gullible buffoon – that for some scary reason – has a national audience.

In this video, new age artist Kitaro explains how and why he uses the synthesizer as he does. He also offers some criticism about the “wrong” use of that instrument.

Momentum, the latest release from UK artist David Wright, is a generous helping of lush symphonic electronica.

It’s another great release on the AD Label, which is home to Robert Fox, Code Indigo, Ashok Prema, Richard Bone and many others.

Momentum is a studio reworking of music Wright performed at a recent Gatherings concert in the US. Here’s how Wright explains the genesis of the album:

“The music on Momentum came out of a 2007 concert in Philadelphia, USA, where I intended to premier music from a new studio album Dreams and Distant Moonlight.

But things didn’t go according to plan and the day before the concert I changed the set in favour of a mainly improvised one. The decision was an instinctive artistic reaction to the wonderful surroundings, people and venue that prompted a desire to experiment and do something completely different for the occasion.

It was also helped somewhat by having access to a powerful Alesis Andromeda A6 synth, (courtesy of Radio host and concert organizer Chuck van Zyl) which helped take my rehearsals into new musical territory.

And so, quite unintentionally, Momentum was conceived and presented in my first Stateside appearance”

Wright packs about 70 minutes of music, made up 13 tracks, into the album. The tracks flow into each other, forming two larger sections. The music ranges from ambient music and environmental sound to percolating downtempo electronica. Read more…

Edge of Human is the latest release by Bekki Williams. It’s on UK’s AD Music label, which focuses on melodic electronic music, and is also home to David Wright, Robert Fox, Code Indigo, Richard Bone and others. Edge of Human, previously known as Monolith, is Williams’ fourth studio album, though it was originally recorded in 2001. The music on Edge of Human is symphonic electronica/new age music, with an emphasis on broad romantic melodies.

While the music is primarily electronic, Williams uses a lot of imitative synthesis. At its best, this gives the music a massive orchestral sense. On tracks like Where Worlds Collide, Williams makes effective use of percussion, virtual strings & choir to create powerful virtual orchestrations. In addition, Williams uses flute and guitar to expand her palette and give her arrangements more of a live feel. Read more…