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PGM 1298 'SHADOWLANDS 2' : oct.22-29

Autumn brings transformations both subtle and powerful. The shadows lengthen as the focus of the sun moves south below the equator. Here in the Northern Hemisphere, we now experience rapid seasonal climate change on top of slow global climate change. It's a transition marked by familiar changes in temperature, color, and activity in the natural world, disrupted by increasingly extreme weather events.

For ambient musicians, it's a time for complex tone colors burnished with glints of silver and gold, bittersweet harmonies, descending progressions, and gently melancholy emotions.

On this transmission of HEARTS of SPACE, we transition to the darkening electro-acoustic soundscapes of autumn, on a program called SHADOWLANDS 2. Music is by MYCHAEL DANNA & TIM CLÉMENT, STEVE ROACH & MICHAEL STEARNS, MIGUEL NOYA, CLIFF MARTINEZ, ALEX HAAS, and LISA BELLA DONNA.  

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PGM 1297 'COSMIC ELECTRONIC 3' : oct. 8-15

The powerful creative stimulus that came with the first wave of popular electronic instruments was nowhere more intense than Germany in the early 1970s. In Berlin, a young drummer named KLAUS SCHULZE began working with early electronic instruments. He was a founding member of important bands like ASHRA and TANGERINE DREAM, but soon went solo with a series of groundbreaking albums that established a cosmic sound and a musical language that's still influential today—combining native electronic ornaments, trancey sequencer rhythms, and electronic string lines inspired by his hero, RICHARD WAGNER.

On this transmission of Hearts of Space we're back in our comfort zone, with another classic spacemusic journey called COSMIC ELECTRONIC 3. Music is by KLAUS SCHULZE, COSMIC REPLICANT, EXTRAWORLD, JUTA TAKAHASHI, NIMANTY, DREAMSTATE LOGIC, SPACECRAFT, and JONN SERRIE.

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PGM 1296 'CELLO ELEGIES' : oct. 1-8

Like sopranos, the violins get all the attention. The violas, famously, get ignored. But of all the orchestral string instruments, the real star is the cello. In its low range, it anchors the string section; as a solo instrument, it soars with a beautifully lyrical singing voice; while in the studio, its four octave range is a compact string orchestra in one instrument. So for range, tone, versatility, and expression, the cello is unsurpassed — and it sounds especially right in the fall.

On this transmission of HEARTS of SPACE from longtime guest producer for classical and sacred music ELLEN HOLMES, we follow the cello to the emotional heart of autumn, on a program called CELLO ELEGIES.

Music performed by 2CELLOS, STJEPAN HAUSER, MICHAEL HOPPÉ & MARTIN TILLMAN, JULIAN LLOYD WEBBER, YO-YO MA, JACQUELINE DU PRE, SHEKU KANNEH-MASON, MATHEW BARLEY, BARRY PHILLIPS, FRETWORK, and JORDI SAVALL & HESPERION XXI.

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PGM 1295 'AUTUMN WINDS' : sept.24-oct.1

The transition to autumn is marked by shorter days, cooler nights, and deepening colors. As the sun drops inexorably lower in the sky here in the northern hemisphere, the natural world begins the transformation to a colder, darker season scented with "the perfume of decay."

In music, the complex tones and smoky timbres of the woodwind family—the oboe, English horn, clarinet, and bassoon—bring a sonic analog of the changing atmosphere. Writer MARIA POPOVA calls it "a bewildering harmonic of the transcendent and the transient."

On this transmission of Hearts of Space, autumnal ambient for woodwinds and electronics, on a program called AUTUMN WINDS. Music is by RUSSEL WALDER, DEBORAH MARTIN & JILL HALEY, ALTUS, ANDREW LAHIFF, and MAX RICHTER.

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PGM 1294 'DEVOTION 2' : sept. 10-17

Over the last 30 years, the gentle world of Indian devotional music has been updated and transformed by an international group of ambient musicians. Inspired by this venerable heart-centered tradition, often working with authentic Indian musicians, they've stretched the boundaries and expanded the atmospheres of the genre with electronic drones, echoes and reverberations, overdubs, and studio magic. Slow, deep, and meditative, you don't have to know anything about Indian music or religion to enjoy it.

On this transmission of Hearts of Space, ambient excursions in Indian devotional music—on a program called DEVOTION 2. Music is by HANS CHRISTIAN, GARY STROUTSOS & STEVIN McNAMARA, BEN LEINBACH, CRAIG PRUESS & ANURADHA PAUDWAL, MARK SEELIG, and AL GROMER KHAN.

 [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ] 

PGM 1293 'SYMMETRY' : sept. 3-10

Across the spectrum of Ambient, Electronic, New Classical and New Age music we find a common metaphor: the journey. It's music for virtual travel, for progressive ascent towards a goal, arrival at an apex, descent, and return.

New York composer ZENON MARKO has given classic architectural form to the experience by making it rigorously symmetrical. His album SYMMETRY, he says, "is a musically symmetrical journey — whether physical, intellectual, imaginary, emotional, psychological, or spiritual." As if serious music wasn't already difficult enough, the entire album is symmetrical, with the descending sections as actual reverses of the ascents.

On this transmission of Hearts of Space, the power of form, and the powerful sound of heroic ambient electronics, on a program called SYMMETRY. Music is by ZENON MARKO, SENSUALISM, KEVIN KELLER, CHRONOTOPE PROJECT, HAMMOCK, MAX RICHTER, and TOM EATON.

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PGM 1292 'SUFI SOUL 3' : aug. 27-jun.3

The mystical, inward-facing order of Sufism goes back to the very beginning of the Islamic religion in the 8th century. It has parallels to the venerable traditions of Buddhist and Hindu mysticism, and aims for direct union with God by purifying the heart. The work of the Persian Sufi poet RUMI has achieved worldwide popularity for its beauty and insight, and a body of Sufi music evolved to accompany religious practices and meditation—most famously the "whirling dervishes" of the Mevlevi order in Turkey—creating a genre that's not only alive today, but producing new strains of spiritual music.

On this transmission of Hearts of Space, we revisit the contemplative heart of Middle Eastern music, on a program called 'SUFI SOUL 3.' Music by ZIKR PROJECT, DHAFER YOUSSEF, ANOUAR BRAHEM, ELIYAHU SILLS, ALEX KHASKIN, MICHEL BANABILA with MEMET POLAT, ÜMLAUT, & SALAR ASID, DEREK & BRANDON FIECHTER, ABE HATHOT, and PAUL AVGERINOS & OMAR FARUK TEKBILEK.

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PGM 1291 'GONG-CHIME IMMERSION' : aug. 6-13

The traditional Gamelan music of Indonesia originated almost two thousand years ago. It has a sound and spirit all its own, with influences from bronze age metallurgy, Buddhism, Hinduism and Islam. The complex rhythms and shimmering sound of the metallophone orchestra of bells, gongs, chimes, cymbals and xylophones — plus skin drums, bamboo flutes, strings and vocals — has fascinated Europeans since Gamelan ensembles performed at the Paris Exposition of 1889.

In the 20th century, an elite group of western composers including ERIK SATIE, JOHN CAGE, LOU HARRISON, HARRY PARTCH, STEVE REICH, PHILIP GLASS, and others took the traditional gamelan sound in new directions, creating new instruments and orchestrations and later adding the ethereal dimension of electronics.

On this transmission of Hearts of Space, ambient hybrids inspired by the gamelan music of Indonesia, on a program called GONG-CHIME IMMERSION. Music is by LOREN NERELL, DAVID PARSONS, JON IVERSON, DANIEL SCHMIDT and THE BERKELEY GAMELAN, EVERGREEN CLUB CONTEMPORARY GAMELAN, and JALAN JALAN.

 [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ] 

PGM 1290 'ELECTRONIC FOSSILS' : july 30-aug 6

Electronic music is everywhere today, so it's surprising to learn that as a popular genre it's only about 50 years old. While the earliest examples go back to the late 19th century, until the 1960s electronic music was rare, expensive, and almost exclusively the domain of obscure academic and experimental musicians.

These early theorists realized that electronics would vastly expand the tones and timbres available to composers. This led to popular electronic versions of Bach and Debussy, and electro-acoustic combinations of conventional and electronic instruments. More seriously, it led to a revival of so-called "tone color" music, an evolution of the Romantic "tone poems" of Richard Strauss, Liszt, and Wagner — while more radical artists used electronics to create new forms of music that had never been heard before.

It all came together in the 1970s, when the advent of relatively affordable electronic synthesizers, drum machines, effects processors, and recording equipment fueled an era of rapid discovery, invention and innovation, and the beginning of popular electronic music. On this transmission of Hearts of Space, we look back at the sound of electronic music in the 1970s, on a program called ELECTRONIC FOSSILS. Music is by DOUG McKECHNIE, MICHAEL GARRISON, JEAN-MICHEL JARRE, TANGERINE DREAM, DEUTSCHE WERTARBEIT, LAURIE SPIEGEL, KLAUS SCHULZE, and ROBERT RICH.

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PGM 1289 'JON HASSELL RETROSPECTIVE' : july 23-30

American avant-garde composer JON HASSELL died in June 2021 aged 84. Of all the artists that have been featured on Hearts of Space, due to his wide influence, theoretical brilliance, and open-minded innovation, no one deserves a retrospective more than JON HASSELL.

His 1978 debut album VERNAL EQUINOX set out his vision of what he called "Fourth World" music, which he defined as "a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques." It's a vision that was influential with other musicians because it opened up new creative vistas rather than just rearranging the elements of old ones.

His embrace of exotic cultures was always respectful and creative, never casual or exploitive. He saw less developed countries as places where tradition was still alive, and spirituality was inherent in their music. His principal instrument was the trumpet — electronically softened, harmonized and spatialized into what one writer said "sounded as if it were played by a Berber on a distant sand dune, or from a minaret in a deserted city."

On this transmission of Hearts of Space, a JON HASSELL RETROSPECTIVE.

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PGM 1288 'THE NEXT DIMENSION' : july 9-16

It's utterly without tension, reliably tonal and melodic, and wouldn't hurt a fly. Yet New Age music has been the subject of decades of casual ridicule.

Originally a grassroots phenomenon with a do-it-yourself creative ethic made possible by the home studio movement, after a period of mainstream success in the 1980s, it retreated to serving its core audience. Despite the criticism, New Age remained a popular niche, showing that a therapeutic music for relaxation, meditation, virtual travel, and alternative forms of spirituality had become something of a psychological necessity in high-intensity modern life. 

Around 2004, a critical reappraisal of the genre began, led by music blogger Douglas Mcgowan and by serious music collectors, Gen X'ers and Millennials who were children during the glory days of New Age. Evaluating musicians on their own merit rather than writing off the entire genre led to the conviction that some of the artists had been underappreciated, and the genre itself had been overcriticized.

On this transmission of HEARTS of SPACE, New Age music reconsidered, on a program called THE NEXT DIMENSION. Music is by DEAN EVENSON, SCOTT HUCKABAY and PHIL HEAVEN, JONNY LIPFORD, DAVE EGGAR, HIROKI OKONO, UMA SILBEY, MICHAEL BRANT DEMARIA, FORREST SMITHSON, MIKE CLAY, IASOS, and PAUL AVGERINOS.  

[ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

PGM 1287 'PARALLEL WORLDS' : july 2-9

Of all the artists that have been featured on Hearts of Space, due to his wide influence, theoretical brilliance, and tireless innovation — no one has earned a celebratory retrospective more than JON HASSELL. An avant-garde composer and inventor of "Fourth World" music, he described it as "a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques." Jon Hassell died this week at the age of 84.

We'll work on that retrospective, but for now we'll use one of his classics to introduce a program of the kind of globe-trotting, culture-hopping, creative ambient he inspired. On this transmission of Hearts of Space, a program called PARALLEL WORLDS. Music is by JON HASSELL, TRANCE MISSION, GREEN ISAC ORCHESTRA, RICHARD BONE, DARSHAN AMBIENT, DANIEL LANOIS & ROCCO DELUCA, ALEX HAAS, and FORREST FANG.

[ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

PGM 1286 'SUMMER STARS' : june 25-july 2

Many kinds of music are associated with one of the seasons, but ambient and environmental electronic music? — more than most. The music has to BE the season: to reflect, inhabit, and merge with the space and feeling of the seasonal environment. And when it comes to summer ambient, the pace gets slower, the harmonies get warmer, and the ethereal sounds inspire weightless floating.

On this transmission of Hearts of Space, we float peacefully through the star fields on the warm breezes of a summer night, on a program called SUMMER STARS. Music is by ERIK WØLLO, SUFJAN STEVENS, STEVE ROACH, RUDY ADRIAN, and AMONGST MYSELVES.

[ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

PGM 1285 'SLACK KEY PARADISE' : june 11-18

Hawaii, ladies and gentlemen: our 50th state, a subtropical archipelago of 137 volcanic islands arising from the Pacific Ocean, 2000 miles southwest of the U.S. mainland. Unique in many ways, it's a rich multi-ethnic melting pot of indigenous Hawaiian, Polynesian, East and Southeast Asian, and North American cultures.

All this diversity gives Hawaiian music a sweetness and charm that led to popularity for the steel guitar and the ukulele in the early 20th century, and a revival of the so-called "slack key" or re-tuned finger-style guitar in the 1970s. The languid pace and tropical ambience of the music echoes the astonishing beauty of the natural setting. One visit to the Garden Island of Kauai turns a word like "paradise" from hyperbole...to description.

On this transmission of Hearts of Space, the languid music and lush subtropical ambience of Hawaii, on a program called SLACK KEY PARADISE. Music is by BRUCE KAPHAN & JAKE SHIMABUKURO, BOB BROZMAN & LEDWARD KAAPANA, KEOLA BEAMER & R.CARLOS NAKAI, TAIMANE, KAWIKA KAHIAPO, and WAYNE POWELL.

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PGM 1284 'FLOATING WORLDS 3' : june 4-11

The concept of a "soundscape" was defined in the 1960s as a combination of sounds that create an immersive environment. It includes sounds of the natural acoustic environment and weather—called the geophony; animals and insects—called the biophony; and sounds made by humans—the anthropophony.

In Canada, the soundscape idea was established for a whole generation of musicians by composer and educator R. MURRAY SCHAFER. Among his students were two young Canadian electronic musicians — MYCHAEL DANNA and TIM CLEMENT. In the mid 1980s they were creating what they called "environmental electronic music" like this classic track from the album SUMMERLAND.

DANNA went on to become an A-list film composer known for non-traditional scores for films like The Life of Pi, while the combination of natural acoustic environmental sounds and electronic music became one of the enduring trends in the ambient music of today. Like scores for imaginary films, they can entertain, challenge, or sooth us, sending signals to our ancient limbic alert system that tell us to be vigilant, or relax.

On this transmission of Hearts of Space, a collection of immersive environments and electro-acoustic soundscapes called FLOATING WORLDS 3. Music is by DANNA & CLÉMENT, SINEPEARL, TOM EATON, ALPHA WAVE MOVEMENT, ALIO DIE & REMCO HELBERS, and STEVE ROACH.

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PGM 1283 'THE SOUND of BLISS' : may 21-28

THE GROUP BLISS was a warm breeze that emerged from chilly Denmark in 2001, the project of writer/producers MARK-GEORGE ANDERSON and STEFFEN AASKOVEN. Original vocalists TCHANDO from Guinea-Bissau and ALEXANDRA HAMNEDE (hahm-NYED-eh) from Sweden, brought soulful African and refined jazz elements to the group's polished mix of pop songcraft, subtle ambient electronics, ethnic and classical elements.

Successful in Europe from the start, their music appeared on dozens of compilations and soundtracks. Four more excellent albums followed between 2003 and 2013, establishing BLISS as elite artists in the popular ambient/downtempo/chill genre. It took five years before they released an album in the U.S. and started building an international fanbase. They'd be household names in the States if not for the fact that the word "bliss" is apparently irresistible to musicians; more than a dozen other artists exploit the name or use it as a title, leaving a confusing mess for all of them.

So when it comes to "Danish Bliss" we're not talking about pastry, but as you'll hear, a superior contemporary world-ambient-downtempo experience. On this transmission of Hearts of Space, an overdue retrospective called THE SOUND OF BLISS.

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PGM 1282 'SANCTUM SANCTORUM' : may 14-21

Composer CONSTANCE DEMBY passed peacefully in 2021 at age 81. She was an original character, a fun-loving free spirit who emerged out of the creative upheaval of the 1960s as a "sound sculptor" of resonant steel instruments, and member of an anarchic hippie musical group from Maine. After the group disbanded in the mid-1970s, she was drawn to the spiritual path, studied yoga, made the pilgrimage to India, and began to compose devotional music.

Back in the U.S., she settled in Northern California, started her own cassette label, and pursued a recording career armed with a modest musical education enhanced by great intuitive intensity. She was gifted with a profound talent for melody and a lavish gift for orchestration that served her well. From her earliest recordings she aimed to create what she called "sacred space music" — at first with acoustic instruments, later with electronic synthesizers and studio tools. She was one of the earliest adopters of electronic sampling keyboards, which gave her access to the full spectrum of orchestral instruments she employed in her choral symphonies.

On this transmission of Hearts of Space, a Constance Demby posthumous retrospective, on a program called SANCTUM SANCTORUM.

[ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

PGM 1281 'ANTIPODEAN SPACE' : may 7-14

The great Southern lands known today as Australia and New Zealand were once called "the Antipodes" (an-TIP-ohdees) by the British. The word literally means 'the other side of the world.' If you tunneled straight down from the British Isles through the center of the earth, Australia is roughly where you'd emerge — upside down, of course.

Even after it was colonized by the British, for centuries Australia was seen by the rest of the Western world as remote, exotic, and inaccessible. And even in the internet age, this isolation has meant that Australian music, art and culture has often gone unnoticed. Yet since the late 1970's, Australia has seen talented composers creating rich veins of contemporary music, including space-creating instrumental music in a variety of styles.

On this transmission of Hearts of Space guest-produced by our Australian colleague MIKE G (the man behind the essential web site AmbientMusicGuide.com) a selection of ambient and atmospheric music by Australian artists from the 1980's to the present, on a program called "ANTIPODEAN SPACE."

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PGM 1280 'DRONES and MICROTONES' : apr. 23-30

DRONES—not the ones that fly, take pictures and drop bombs, but sustained musical reference tones—have been used for thousands of years. Simple, effective, and popular, drones originated in ancient southwest Asia, and spread to Europe, India, and Africa.

For many contemporary listeners, their first encounter with a drone was in Indian classical music. It's normally produced by a dedicated instrument called the tamboura (or tanpura), which creates a sustained buzzing sound with the reference pitch and a harmonic fifth above it. Some Indian instruments like the sitar, sarod, and saranghi have drone strings built-in. Not to be outdone, western bagpipes produce multiple drones, as does the medieval hurdy-gurdy. And today, drones are common in electronic and avant-garde music.

Microtones are another basic feature of Indian music. Where western music uses just 12 equally spaced tones to the octave, Indian scales typically have 22, allowing more elaborate melodies and ornamentation. On this transmission of Hearts of Space, we return to the entrancing sounds of Indian contemplative music, on a program called DRONES & MICROTONES.

Music is by SAMIR BODHI, HANS CHRISTIAN, AL GROMER KHAN, J.J. GREGG, RAMAN & SRIKANTH, MANOSE, and AMELIA CUNI & WERNER DURAND.

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PGM 1279 'IMAGINARY WORLDS' : apr.16-23

Music is something we literally create out of thin air. For millennia it was defined by the sound of physical instruments and the human voice. As instruments evolved and became more refined, music became more complex and sophisticated. By the late 19th century, French composers like Debussy and Ravel were creating orchestral "impressions" of imaginary places and events—an early form of what we now call Virtual Reality.

Since ancient times, literary and religious texts have described mythic fantasy worlds with magical and supernatural elements. It took music centuries to catch up, but in the 20th century, electronic instruments finally gave composers a virtually unlimited set of tools to create imaginary environments. Today we have music for fantasy films and video games, and ambient composers invent fantastic immersive environments for our traveling pleasure.

On this transmission of Hearts of Space, virtual realms of fantasy and imagination, on a program called IMAGINARY WORLDS.

Music is by ISHQ, DESENSITIZED, STEVE ROACH & SERENA GABRIEL, DEBORAH MARTIN, KEVIN BRAHENY FORTUNE, and KRILL.MINIMA.

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PGM 1278 'IMMORTAL MELODIES 2' : apr.2-9

No European musician has achieved the status of JOHANN SEBASTIAN BACH, who is regularly cited as the greatest composer in history. He dominated the Baroque era of 18th century Germany, and in retrospect, played a key transitional role in the evolution of Western classical music.

His virtuosity as a performer, productivity and brilliance as a composer, the vast range of his secular music and sublime profundity of his religious music — have never been equaled. An innovator in his time, he expanded the role of the pipe organ in the church and embraced new styles, while his adoption of the "well-tempered" scale set the course for the future.

Beyond its breadth, depth, intellectual and emotional power, the appeal of Bach's music can be attributed to something more basic: Bach was a master of melody. The spacious lyricism of his chorales and contemplative arias creates an atmosphere of sacred mysticism that's as relevant today as it was in Baroque Germany.

On this transmission of Hearts of Space from our regular guest producer for classical and sacred music ELLEN HOLMES, an all-Bach program called IMMORTAL MELODIES 2. Performances by pianists CHAD LAWSON, MARTA & GYORGY KURTÁG, and ANNA GOURARI, cellists YO-YO MA and ELISE ROBINEAU, organists FRANZ HAUK and OLIVIER LATRY, and strings by FRETWORK, the BBC PHILHARMONIC and the BBC SYMPHONY.

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PGM 1277 'SECRETS OF THE STARS' : mar.26-apr.2

It's well established that electronic music naturally creates images of cosmic space. Almost fifty years ago, it was given the logical name: spacemusic. The genre has two common modes: flying music is rhythm-powered and goal-oriented, moving through space bound for distant galaxies; floating music is static and timeless, resting peacefully in vast, silent starscapes.

As the genre evolved, electronic composers gave expression to the drama in the supreme adventure of exploring the cosmos — a feeling we share today even on missions close to our home planet. They ask the existential and extraterrestrial questions: Who are we? and Are we alone?

On this transmission of Hearts of Space, it's another cosmic-electronic journey, on a program called SECRETS OF THE STARS. Music is by EXTRAWORLD, STARTERRA, DAVE LUXTON, SEABAT, JONN SERRIE,  DREAMSTATE LOGIC, and JAJA.

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PGM 1276 'SIX STRING SPRING' : mar.19-26

This week we transit the Spring Equinox, the official beginning of spring and a good time to check in on the ambient space guitar. Acoustic or electric, live or sampled, looped or direct, straight up or processed, folk, jazz, or classical — even in the electronic age, the venerable six string guitar continues to make itself indispensable almost everywhere music happens.

Guitarists of the Ambient persuasion take it slow, quiet, and spatially expanded, leaving the virtuosic fireworks to their rock brothers and sisters. Occasionally...a heroic rock guitarist like JEFF BECK or BUCKETHEAD will journey to the contemplative side of the instrument just to do something completely different.

On this transmission of Hearts of Space, a spacey, twangy, laid-back, subtle, turn-of-the-season journey for ambient guitar — on a program called SIX STRING SPRING. Music is by CHRIS HAUGEN, LISA BELLA DONNA, CLAES NILSSON, CARL WEINGARTEN, BLUE STAR, and TONY GERBER, with PHIL KEAGGY and DREAMHUB. 

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PGM 1275 'OPTIMISM' : mar. 5-12

I think we can all agree that the last year of the pandemic — from March 2020 to March 2021 — has been one of the most difficult, disrupted, and disheartening in American history. One memorable commercial starring the devil and his girlfriend dubbed it "The Year From Hell." No one argued.

The unprecedented strain on our collective nerves led to a boom in therapeutic, calming, psychologically healing music and media. Much of it here on Hearts of Space was dark and melancholy, reflecting feelings of fear, isolation, depression, and loss.

With the arrival of powerful vaccines and new management, things have finally started to improve. And while it's not yet time to celebrate, we've begun to allow ourselves a positive view of the future. Optimism emerges when hope turns into real, positive change. Like prayer, hope is intangible—a hazy image of a better future. Optimism is hope fulfilled, based on real events and how they're moving.

Optimism inspires music with a positive tone, fresh energy, a sense of comfort, and expanding possibilities. It's a rest stop on the road to joy. On this transmission of Hearts of Space, optimistic ambient for improving times, on a program called — OPTIMISM.

Music is by THIERRY DAVID, DAVID HELPLING, DIGITONAL, and LIQUID MIND.

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PGM 1274 'SOLEMN HOPE' : feb.19-26

The ambient-neoclassical duo of pianist DUSTIN O'HALLORAN and electronic musician ADAM WILTZIE — collectively A WINGED VICTORY FOR THE SULLEN — have a name that not only sets them apart, but needs some explanation.

As you might expect for two Americans who met in Italy while touring, their music has more to do with European art than their roots in California and Texas. It starts with the Greek goddess Nike, who became the Roman goddess of victory, conveniently named Victoria. She's familiar to students of art history as a triumphal winged figure on coins, jewelry, and architecture. Her most famous monument is The Winged Victory of Samothrace, now in the Louvre—a masterpiece of Hellenistic sculpture and the very classical embodiment of the spirit of triumph.

So it's a stroke of post-classical genius to address their work to "the sullen," and a shrewd way of managing the expectations of a possibly cynical post-modern audience: the regal pace and transcendent beauty of their music brings a feeling of quiet reassurance. They're members of a popular group of modern classical composers with an integral ambient sensibility. On this transmission of Hearts of Space, reassuring neo-classical ambient for trying times, on a program called SOLEMN HOPE.

Music is by A WINGED VICTORY FOR THE SULLEN, TERJE RYPDAL, BEN LUKAS BOYSEN, JÓHANN JÓHANNSSON, JEFF GREINKE, VOLKER BERTELMANN & DUSTIN O'HALLORAN, and SLOW MEADOW.

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