dreamSTATE - Scott McGregor Moore - Jamie Todd - AMBIENT Music and Aural space - "Eclectic Earwig Reviews Music and More for You!"
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Om:dreamSTATE, 2000
http://www.dreamstate.to

Scott McGregor Moore and Jamie Todd record deep electronic
ambience as dreamSTATE.  They created Om live at Canada's Om
Festival in June, 2000.  It is exactly as recorded - straight to D.A.T.
with no overdubs.  It is an awesome soundscape created in "real time."  It is
also an excellent companion to Between Realities, their debut CD, from
one of their installation performances.  This is great e-music.  It is full of
symphonic synth washes, deep riffs, huge atmospheres and experimental sounds.
Those experiments give the disc sci-fi appeal.  This superb adventure is also a
great meditation experience. ~ Jim Brenholts

River Dreams:Scott McGregor Moore (dreamSTATE member), 1995
http://www.dreamstate.to

Scott McGregor Moore created River Dreams in 1995 as a gift for
his sister and her husband Dana and Mike Macies.  Scott recorded it
direct to cassette tape and made no copies.  Dana and Mike played the tape for
him in 2001 and he liked it well enough to borrow it and "clean" it for digital
re-mastering.  He also shared it with friends who encouraged him to release it.
He has done so and it is another awesome dreamSTATE relaxation
soundworld.  These simple looping techniques are the very basis of electronic
music - be it digital or analog.  This set of deep atmospheres and soundscapes
is an excellent mind-numbing experience. ~ Jim Brenholts

Synthphonics 1 - Dreamers on the Edge of Light:Jamie Todd (dreamSTATE member)
http://www.dreamstate.to

Synthphonics 1 - Dreamers on the Edge of Light is a sound environment by
Urm - a project by Jamie Todd, of dreamSTATE.  He recorded it
with the Absynth soft synth.  The process involves sustaining a single
not then modulating and mixing it in real time.  (In simpler terms, that means
warping the sh!t out of the note!  :)  This is superb electronic minimalism.
 It is the complete package from the opening iteration to the mechanical
repetitions.  The atmospheres are the soundscapes.  The metallic textures and
sci-fi sounds take this long-form (55') composition into the isolationism of
deep space.  This is an essential disc! ~ Jim Brenholts




Between Realities by dreamSTATE (Scott McGregor Moore and Jamie Todd) Space Recordings, 1998 http://www.dreamstate.to This album is a real-time recording of an hour’s worth of sound environment from an installation that Canadian experimentalists “dreamSTATE” created in an avant-garde art gallery in Toronto. This soundwork, which ran from December 1996 to July 1997, was an audible kaleidoscope of three collections of sound-elements which were set to combine with each other in constantly shifting patterns. According to the notes, the creators recorded in the gallery for two hours, during a “beautiful hot summer evening on June 25th” (my birthday, but they didn’t know that) and they selected the best continuous hour’s worth, which turned out to be between 9:40 and 10:41 PM. The collections of sound-elements run all the way from music to noise and many places in between. There are pleasant, Eno-esque synthesizer chords, soft floating electronic effects, harsh noisy metallic zings, and windy whispers. There are also “environmental” sounds such as peeping tree frogs, chirping robins, crickets, and plenty of splashing waves. Another interesting factor in the mix was that the microphone also picked up the sounds of people and their voices in the gallery, and city noises from the street nearby, including a motorcycle starting up and chugging away. As with much long-form abstract ambient, this piece (which runs continuously for the hour, with no breaks though there are track sections so that you can “move” about from one part to another) is best enjoyed at a low level while you are doing something else. It does not have the rhythm, themes, or structure that “real music” does. There are two conceptual issues which arise in regards to this recording. First, the visual element of the gallery, which must have been impressive, is missing. Second, this is a recording of a sequence from an always-changing sound pattern which was never the same twice – yet once it was recorded onto this CD, this one hour from the entire eight-month “run” was fixed into a single unchanging piece. Those of us who never visited the gallery during the exhibition can only hope that the segment of ambience that forms this album was a good representation of what the “live” experience was like. No rating Hannah M.G. Shapero 2/17/01


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