Under the Moon 20th Anniversary Edition
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Meticulously restored, the delicate balance of these classic recordings are re-envisioned with an in-depth exploded view of the audio, offering the listener a much deeper, more completely immersive sound journey experience. Martin crafts memorable works, highlighting the theme of traversing light into dark, while performing on guitars, synths, percussion and vocals, accompanied by legendary bassist Tony Levin on poignant passages. Used extensively at the Olympic Games, this album marked a historic achievement for artist and label, establishing an intensified focus and creative path during the artistically critical early years of both. Artist Notation included in booklet in 20th anniversary release: The songs seemed to create themselves based upon the theme I wanted to share — that timeless movement from twilight until just before dawn, where all precious imaginings exist, suspended in the elegant dream-space we all crave.
Meticulously restored, the delicate balance of these classic recordings are re-envisioned with an in-depth exploded view of the audio, offering the listener a much deeper, more completely immersive sound journey experience.
Martin crafts memorable works, highlighting the theme of traversing light into dark, while performing on guitars, synths, percussion and vocals, accompanied by legendary bassist Tony Levin on poignant passages. Used extensively at the Olympic Games, this album marked a historic achievement for artist and label, establishing an intensified focus and creative path during the artistically critical early years of both.
Artist Notation included in booklet in 20th anniversary release: The songs seemed to create themselves based upon the theme I wanted to share — that timeless movement from twilight until just before dawn, where all precious imaginings exist, suspended in the elegant dream-space we all crave. Many artistic bonds were formed and friendships that have remained throughout the years, kindled by a common thread — creating music.
Listening to these remastered tracks has brought so much depth into focus as each song comes alive, reborn with the dance of the theme, which has always been the goal. It was a love match and the entire village was eagerly anticipating the ceremony and the feasting that would follow. But on the eve before the marriage was to take place, the village was attacked by a warring tribe and the young warrior was killed in the ensuing battle. So the young maiden would climb to the top of the mountain each night and sing her song of mourning for her lost love.
When I told Edgar about my poem, he wanted to know where I got the story from. I told him it was simply a poem I had written. Then he asked me if I was Apache. I told him I did not think so, but he assured me that I must be from a very long time ago, because I told my poem story to him just as his people would tell stories around the great fire in winter, the time of telling stories.
I asked Edgar if he would translate my poem into Apache and he told me he would because I was of his people. That was the beginning of a deep friendship that continues today. Adding to its appeal, the stylistic range of Under The Moon is broad and the instrumentation rich, with Martin credited with acoustic guitars, synths, percussion, and vocals joined by many guests, among them bassist Tony Levin on two tracks and Edgar Perry of the White Mountain Apache Eagle Clan on one.
Arif Verner, two of the better-known projects. But twenty years on from its original release, Under The Moon no doubt stands out as a high point in her career. A rich acoustic palette embellishes the gently harmonious, reflective synth and keyboard foundation.
Lead lines on piano, deep flute or synth entwine with inventive fretless bass work, float upon warm, smooth pads or hang behind the hypnotic thud of hand drums. This special edition of Under The Moon comes in a night-sky-blue card wallet with an eight page booklet enclosed in one end.
Colourful, painted artwork spreads in a panorama across front and back panels: A closer detail fills the inner section where brief credits and a monochrome portrait photograph reside. The booklet also explores sections of the main painting as backdrops to reflections on the 20th anniversary remaster, explanations on the music, poetic transcriptions, thanks, dedications and a more detailed credit list.
Ten relatively tight, brief recordings ranging from just under three minutes to around five and a half minutes make up this highly emotive album that might well sound familiar from its wide use at the Olympic Games. Guest appearances include Tony Levin, whose bass sound is instantly recognisable and Edgar Perry whose dulcet Apache voice adds to the sense of culture and history embedded firmly into many of the tracks. You can explore the album at the Spotted Peccary site where sound samples and a wealth of background information can be found.
There is much variety in the material, from the dreamy Twilight and Nights Shadow to the slowly building crescendo of Aurora — anchored by the exquisite electric string bass of Tony Levin, well known to rock fans for his work with Peter Gabriel and King Crimson. A native american theme colors two tracks: Another favorite track is Gray Sky, conjuring images of deeply shadowed canyons and cliff walls, clouds streaming overhead, illuminated by the moon, with a spoken vocal in Apache that is then sung in English.
These are dream songs, night music, ethereal, trance-inducing, mind-altering, even more awesome with headphones. Beautiful, wild, night magic, Under The Moon is sure to set the night on fire. If not, it should be. Sonically the album is of its time with lots of breathy synths, airy textures, and digital woodwinds with guitar, bass, and percussion providing additional color. The keyboard timbres occasionally have a dated quality to them, plus I have a hard time detecting any sonic improvement in the production.
But for the most part the collection gels nicely and still does a good job transporting the listener to a time and place that calms the soul and fires the imagination. Jim Brenholts, AllMusic. With assistance from the usual Spotted Peccary crew, Martin creates a very reverent and respectful soundscape to honor the cultures of Native Americans.
The subtle acoustics augment her electronics and the electronics take the ethnicity to higher planes and exotic locations. Deep listeners will follow her willingly and respectfully with no hesitation.
This disc will appeal to fans of Marina Raye, R. Under the Moon is pure instrumental music with many elements from different styles, including classical music, electronic, ambient and so on. All selections have been composed and performed by Martin, although several other musicians including Paul Lackey and Jon Jenkins also appear.
The music is innovative and uplifting. The author translates successfully her inspiration into electronic music, and with it, the listener will be carried off on a relaxing journey.
The album contains 10 tracks. Terry Wickham, Fears Magazne Imagine looking up at a star filled sky. You can clearly see many of the stars, including the big round moon. As you look to each star, there is a story to tell about each one of them.
Under the Moon, musically speaks of these stories and the peaceful feeling you get when you observe the heavens above. A good CD to play at home when you need to; slow things down, read a book or write a letter to a friend. It will make your forget your worries and enliven up your day.
Alexander Strong, The Edge Since the dawn of humankind on earth and before, the moon has deeply touched our spiritual and organic lives. Musical artists from Beethoven to The Moody Blues have stretched their imaginations to touch the glowing orb of Artemis through sound. Under The Moon has a definite feminine vibration of subtle power and beauty. Its overall mood is relaxing, light and spacious — with choice moments of harmonic tension, movement and dynamics. In other words, this is music with well-conceived ideas and not just pleasant, ambient sound.
The sonic quality of this CD is warm and clear. Gentle touches of acoustic guitar, fretless bass and native american flute bring an earthy note to harmonize with the cool crystal of the synth sounds. Martin offers quite an intriguing debut album of ambient electronic music. Top sound production from label head Howard Givens helps give this celestial New Age music an edge.
The music ranges from stark and surreal to the sublime, and Martin receives excellent support from a variety of guitarists as well as King Crimson bassist Tony Levin. Like hard-rock remember Zep or Purple? But New Age? Except that the productions of the American label Spotted Peccary are so well done, the sound is so much detailed that I had to try an ear. To celebrate a 20th anniversary the American label gives to it a new breath, a new skin, with a completely remastered edition.
Did I like? I found that there was a medium ground between the so called New Age approaches, the spectral melodies and the ambient structures which are downright attractive, if not intrusive. In fact I discovered a beautiful album, a surprisingly musical album where the acoustic of the guitars and the flutes, as well as their charms, blend admirably well into the meditative atmospheres sculpted in the sobriety of the synths and of the piano of Deborah Martin. We are in the field of dark ambient where the synths weave a mosaic of orchestrations as so dark as poignant which float as these red clouds which color the night of an approach as romantic as sibylline.
The guitar here is more present and sculpts a soft ambient ballad where a flute is covering of its dark charms. Remove these wings of gulls which fill your eyebrows! The music and the arrangements are of a delicacy that will make your emotions going upside down. Everything is there! The clouds of mists and the subdued choirs which make symbiosis into ethereal elements. The more we move forward and the more we are seduced.
Intense and penetrating! The voice of Edgar Perry is tinted with mysticism. Just like the ambiences which are flavored by shamanic percussions, decorated with winds which hoot like a pack of wolf cubs and with murmurs of spectres. The synth lines are floating like abstract witnesses of this incantation, leaving the charms of the mesmerizing flute flooded our thoughts along with the soft penetrating voice of Deborah Martin.
The rhythm is steadier, although rather sedative, with tom-toms which sculpt a dance of which the shape follows the lasciviousness of flutes and orchestrations. There is a touch of Middle East here. The orchestrations are still all the wealth of this very beautiful moment of ambiences. On this track and all over the album. That makes a very filmic music where the hero watches the desert shying away under his eyes. Needs to pay attention with the New Age term!
Certainly, there are melodies. But the ambiences and the massive ethereal orchestrations inject a dreamlike fluid which sticks so much on the feelings, that we can follow the trajectory of the music through our imagination. I was quite surprised that I ended up to enjoyed it. There are pretty good moments here.
But in a right way. Quotes from reviews of original release: Archie Patterson, Eurock. Time and a Word Magazine. Steve Ryals, New Age Retailer. Music Design in Review. Reel to Reel News. Lloyd Barde.
Under the Moon 20th Anniversary Edition
VIDEO: Under the Moon 20th Anniversary Edition – Deborah Martin
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