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PGM 1331 'CELLO ELEGIES 2" : nov.26-dec.2

Mournful...plaintive...melancholy...somber...sonorous...resonant: the cello is all this and more — a compact, versatile string orchestra in one instrument, with a four-octave range that comes fully alive in the dark days of autumn. On this transmission of Hearts of Space, an autumn journey featuring the plangent tones of the cello, on a program called "CELLO ELEGIES 2." Music is by DAVID DARLING, HANS CHRISTIAN, MAYA BEISER, BLACK TAPE for a BLUE GIRL, ERALDO BERNOCCHI & HOSHIKO YAMANE, JESSE AHMANN, MAX RICHTER, and MARCELLO DE FRANCISCI.

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PGM 1330 'DEEP FLUTES' : nov.11-18

With all the attention given to guitars, keyboards, and synthesizers these days, it's easy to overlook the oldest musical instrument on the planet: the flute. With examples made from bird and animal bones going back over 40,000 years, the flute has played a seminal role in the evolution of music on six continents.

For simplicity, ancient flutes can't be beat: a tube, some holes — done!  In Europe, the modern concert flute evolved to play complex classical music, but since the 1960s, a dedicated group of Native, Ambient and New Age artists has embraced older, simpler ethnic flutes from Native American, South American, Asian, and western folk cultures — combining them with reverberant environments and resonant percussion instruments as vehicles for meditation and healing.

On this transmission of Hearts of Space, the quiet evolution of indigenous aerophones, on a program called DEEP FLUTES. Music is by SHERRY FINZER & WILL CLIPMAN, R.CARLOS NAKAI, ANN LICATER, JAMES MARIENTHAL, VIANNEY LOPEZ, and RAPHAEL GROTEN.

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PGM 1329 'NETHERSONIC' : oct.28-nov.4

Welcome to the astrological house of Scorpio...a time of darkening in the world around us, when Celtic mythology considered the veil between this world and the "world of the spirits" to be at its thinnest. The advent of Scorpio each year brings us the dark ambient genres of gloom, gothic, and dark atmospheres. This music displays a quest for strangeness, a taste for the ominous, and a fascination with darkness, death, and decay that's appropriate for the fall season, and celebrated on All Hallow's Eve.

Solemn sounds, fear, depression, doleful wailing, and mournful processions are the order of the day, but this music also has a mysterious restorative power that comes from the confrontation with challenging emotions. The Greeks called it...catharsis.

On this transmission of Hearts of Space, a doom-y, gloomy, dark ambient descent for Halloween called NETHERSONIC. Music is by ATRIUM CARCERI, MONOCUBE, HINTERLAND, RAISON D'ETRE, SOUND PHENOMENON, CAUL, FRANK BEISSEL & STEVE ROACH.

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PGM 1328 'SPACEJAZZ 9 : 'RESTRAINED' - oct.21-28

When it comes to jazz, great musicianship is the standard. But there’s a bright line between virtuosity, power, and technical complexity, and the slow, modal, atmospheric lyricism of beloved artists like pianist BILL EVANS and trumpeter MILES DAVIS, on his classic album KIND OF BLUE.

Quiet. Subtle. Spacious.  It's not about how many notes you play, but how beautifully you play them. As one musician says, it's about "loving every note."

On this transmission of HEARTS of SPACE, lyrical, atmospheric European jazz from the German ECM label, on a program called SPACEJAZZ 9: RESTRAINED. Music is by the TORD GUSTAVSEN TRIO, the SOKRATIS SINOPOULOS QUARTET, the MATS EILERSEN TRIO, GIOVANNI GUIDI, ELENI KARAINDROU, and DOMINIC MILLER.

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PGM 1327 'WANDERING' : oct. 7-14

One of the key built-in features of music is movement. Fast or slow, steady or changing, ascending or descending in musical space — music invites us to move within it when we listen, while also inspiring us physically to move with it.

When we move in physical space, we normally have a destination, goal, or purpose. But when we explore a new environment, we like to be goal-free, take our time, and savor the experience. We can do this with the virtual environments of ambient music.

On this transmission of Hearts of Space, the underrated pleasure of unplanned exploration, on a program called WANDERING.

Music is by ROBERT RICH & LUCA FORMENTINI, BJÖRN MEYER, JON DURANT & ROBERT JÜRJENDAL & PETER CHILVERS, SECONDFACE, and EIVIND AARSET.

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PGM 1326 'RECESSION 3' : sept.23-30

As the sun sinks below the equator and into the southern hemisphere, what used to be an orderly transition from summer heat to autumn cool is now disrupted by extreme weather events. Seasonal changes have become more unpredictable, and we must learn to navigate the new reality of our intensified climate — droughts, heat waves, mega-fires, monsoons, floods, hurricanes, cyclones, and a new class of superstorms are all on the menu, bringing new challenges to a changing world.

On this transmission of Hearts of Space, a fond look back on those formerly gentle seasonal transitions, on a late summer/early autumn journey called RECESSION 3. Music is by DAVID HELPLING, ERIK WØLLO, MEG BOWLES, IAN BODDY, and STEVE ROACH.

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PGM 1325 'HANS ZIMMER's SCORE FOR DUNE' : sept. 16-23

Of all the great science fiction of the 20th century, FRANK HERBERT's 1965 novel "DUNE" has been perhaps the most enduring and successful, giving rise to five sequels by Herbert, nine additional novels, and a committed world-wide audience. It was prescient in its visions of future politics, religion, ecology, technology, and the power of women in society.

After two unsuccessful attempts to film the novel by directors ALLEJANDRO JODOROWSKY and DAVID LYNCH, and a Sci-Fi Channel mini-series, in 2017 a new film version was commissioned by Canadian director DENIS VILLENEUVE with music by HANS ZIMMER, which went on to win six Oscars.

On this transmission of Hearts of Space, we devote the entire program to HANS ZIMMER's magnificent score. Synthesizers, solo vocals and chorus, world-winds and percussion, newly invented instruments, and influences from North Africa and the Middle East, create a powerful organic-electronic world described by Zimmer as "retro-futuristic."

Hans Zimmer's academy award-winning score for DUNE...on this transmission...of Hearts of Space.

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PGM 1324 'WEST AFRICAN SPIRITS' : aug. 19-26

For the almost 40 years we've been producing Hearts of Space, our mission has been to bring you "Ambient, Space, and Contemplative music from around the world and across the centuries."

We've done it in dozens of countries and musical genres. Yet despite its rich and influential musical culture, we've only managed to create a handful of programs of the music of Africa. And within Africa, the music of West Africa and its signature instrument, the 22-string harp/lute called the kora—stands out for its melodic beauty and charm.

On this transmission of Hearts of Space from guest producer DAVID J. EGAN, we focus on the gentle joy of West African music and the kora, on a program called 'WEST AFRICAN SPIRITS.' Music is by RODERICK McLEOD & VINOD PRASANNA, AYUB OGADA, SONA JOBARTEH, STEPHAN MICUS, SEBATIERRA, ABLAYE CISSOKO & VOLKER GOETZE, and DEREK GRIPPER.

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PGM 1323 'TRIBAL AMBIENT REVISITED' : aug. 5-12

The timeless sound of prehistoric hand drums, brought to the present with space-defining ambient electronics. In the 1980s, elements of ancient indigenous music were embraced by electronic musicians searching for an earthy, vital sound to balance the dematerialized tones of electronic instruments, ground the atmospheric soundscapes of ambient, and gain the power of ritual experience.  

The genre was originally termed “Techno-Tribal,” but as the Techno label became associated with electronic dance music, it was renamed “Tribal Ambient.” Today, the period of discovery is long over, but a core group of electro-acoustic artists with a taste for psychedelic experience and a talent for rhythm, continue to refine the sound and release new albums.

On this transmission of HEARTS of SPACE, another report from the creative intersection of tribal rhythms and ambient electronics, on a program called TRIBAL AMBIENT REVISITED. Music is by BYRON METCALF, FRORE & SHANE MORRIS, STEVE ROACH & MICHAEL STEARNS, SERENA GABRIEL, BIFF JOHNSON, and REMANENCE.

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PGM 1322 'PHRYGIAN PHANTOMS' : july 29-aug. 5

In traditional music, a mode is a set of notes or tones that go together to create a distinctive, culturally valued ethos or character.

Modes go back to ancient Greece, and have been redefined over the centuries. In Greece the 5th harmonic minor mode was originally called the Dorian or Aeolian mode, and later the Phrygian mode, inspired by the passionate people of the kingdom of Phrygia in the wild Anatolian mountains of modern day Turkey. It was part of the modal music system of the Medieval Catholic church; and in the folk and classical music of Spain, the Phrygian dominant mode is known as the “Spanish gypsy scale,” because it’s found in Flamenco, and the hypnotic Berber rhythms of North Africa.

On this transmission of HEARTS of SPACE, we return to the distinctive sound of the Phrygian mode as it echoes down the centuries to the contemporary Spanish-Moorish soundscape, on a program called 'PHRYGIAN PHANTOMS.' Music is by guitarists MILOŠ, OTTMAR LIEBERT, ADAM HURST, BENEDETTI & SVOBODA, JOSÉ LUIS MONTÓN, and the fusion group AL-ANDALUS.  

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PGM 1321 'VANGELIS 2' : july 2-9

We continue our tribute and retrospective for the singular recording artist and film composer VANGELIS, who joined the immortals in May 2022 at age 79.

EVANGELOS ODYSSEAS PAPATHANASSIOU was born in Greece in 1943. He showed a natural early talent for music and was entirely self-taught. In his 20s he was the keyboard player in the hugely successful Greek progressive rock band APHRODITE’S CHILD, but he chose to abandon a conventional pop music career and began working as a film composer in Greece.

In the early 1970s he moved to Paris, where he worked with French film director FREDERIC ROSSIF creating lush electronic scores for animal documentaries. They became so popular they helped establish him as a solo recording artist. In 1975 he relocated to London in and built Nemo Studios, where he created his Academy Award-winning electronic score for CHARIOTS OF FIRE, and classic scores for BLADE RUNNER, MISSING, ANTARCTICA, THE BOUNTY, 1492: CONQUEST OF PARADISE, ALEXANDER, the 1980 PBS documentary series COSMOS, and many others.

His gift for opulent melodies and a retrogressive style based on 19th century Romantic classicism was balanced by his early embrace of the tools and techniques of electronic music—a highly effective combination of old and new.

Vangelis never learned to read or write music, but he and his engineers pioneered a virtuoso working method and technical setup that allowed him to compose, play, and record simultaneously, often in one “take.”  On this transmission of HEARTS of SPACE, we celebrate the second half of his stellar career, on a program called VANGELIS Part 2.

=    We'll feature music from his solo albums SPIRAL, OCEANIC, NOCTURNE, JUNO TO JUPITER, and ROSETTA;
=    and film scores for OPERA SAUVAGE, 1492 CONQUEST OF PARADISE, and BLADE RUNNER.

It’s Part 2 of our posthumous retrospective of VANGELIS, on this transmission…of Hearts of Space.

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PGM 1320 'INDO-TRONICA 4' : june 17-24

When the definitive history of cross-cultural musical fusions and hybrids is written, there will be an honored place for the congruence of Indian classical and ambient-electronic music.

Of all the experiments that were attempted after electronic instruments matured to the point of viability in the mid 20th century, this combination was one of the earliest and most successful. Synthesizers expanded the role of microtones and drones in Indian music, while raga and tala—the traditional melodic and rhythm systems of Indian classical music—brought a welcome sophistication to electronic music. It's an area we've explored since the earliest days of this program.

On this transmission of Hearts of Space, another journey where Indian classical meets ambient/trance, on a program called "INDO-TRONICA 4."

Music is by DAVID HELPLING with NIDHI BHATMULEY and BENJY WERTHEIMER, DAVID PARSONS, WOUTER KELLERMAN & DAVID ARKENSTONE, DJ CHEB I SABBAH, MYCHAEL DANNA, BEN LEINBACH & JAI UTTAL, and AL GROMER KHAN.

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PGM 1319 'SPACETIME' : june 3-10

We can thank Albert Einstein's math teacher for the concept of this program. In 1908 Professor HERMANN MINKOWSKI presented an interpretation of Einstein's Theory of Special Relativity that unified time and the three dimensions of physical space, into a single four-dimensional continuum called "spacetime."

So physicists began with three-dimensional space, added the dimension of time, and came up with four-dimensional space. Ambient musicians have done just the opposite. All music exists in the dimension of time: ambient electronic music lives in time, and creates the impression of virtual space in us.

On this transmission of Hearts of Space, a four-dimensional journey, on a program called SPACETIME. Music is by GLOBAL COMMUNICATION, LEMONGRASS, TIME TRAVELER, THE GREAT NORTHERN, BLUETECH, S7VEN, ALPHA WAVE MOVEMENT, and ALTUS.

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PGM 1318 'MINIMAL GROOVE 2' : may 27-june 3

It's a marriage that seems preordained: the appealingly simple, tonal repetitions of minimalism, and the ancient, irresistible kinetic energy of rhythmic grooves. A group of experimental, percussion-oriented composers in Europe and the U.S. have recognized the potential of this combination, and set out to create a genre.

On this transmission of Hearts of Space...beguiling, time-warping rhythms meet ambient atmospheres, on a program called "MINIMAL GROOVE 2." 

Music is by THIERRY DAVID, NEN, DON LI, REPERCUSSION UNIT, LOOP 2.4.3, MICHAEL JON FINK, and HANG MASSIVE.

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PGM 1317 'TRANSONIC' : may 20-27

Acoustic versus electric: once upon a time it was an issue — infamously with Bob Dylan's plugged-in performance at the Newport Folk Festival in 1965. Electric won that round, at least for guitars and popular music. But by the mid 1970's acoustic was back, with the rise of Windham Hill Records and its purist approach to so-called "American Primitive" guitar and piano.

Many innovations have come and gone in the evolution of music since then. We still have purely acoustic folk, jazz, new age, and classical music, but without much fuss, electro-acoustic hybrids have become increasingly mainstream. Acoustic instruments provide a familiar, comforting, organic sound, and support musical expression; electronics expand the subtle dimensions of tone, imagery, and ethereality. Together they make a potent contemporary combination.

On this transmission of Hearts of Space, we explore the transition from acoustic to electro-acoustic, on a program called TRANSONIC. Music is by WILL ACKERMAN, JEFF OSTER, & TOM EATON, DAVID MICHAEL, WILL ACKERMAN solo, RYAN JUDD, TOM EATON solo, JEFF PEARCE, RUSSEL WALDER, and DAGOBERT BÖHM.

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PGM 1316 'PLANETARY UNFOLDING' : apr.28-may 6

Popular electronic music was born out of the creative ferment of the 1960s. As a result, it took on some of the character of the cultures from which it emerged. In academic settings, it was dry, intellectual and experimental; in Germany, technical and mechanistic; in France, lush and romantic; in England, it was integrated into Progressive Rock; in the U.S. and Japan, it became part of the commercial record business, with electronic versions of classical works by Bach, Debussy, Satie and Pachelbel. While in California — as you might expect — it was embraced by grassroots psychedelic and spiritual subcultures creating music for a New Age.

In Los Angeles and San Francisco, sonic explorers like TERRY RILEY, MICHAEL STEARNS, STEVE ROACH, KEVIN BRAHENY, IASOS, and DON ROBERTSON discovered the power of electronic music to take listeners on virtual journeys across time and space. Soon, an international cohort of electronic musicians—aided by drugs and new instruments—began to create an informal genre of electronic "spacemusic."

A young rock guitarist from Tucson, Arizona named MICHAEL STEARNS became fascinated with electronic music and moved to Los Angeles in 1975 to be part of the emerging scene. He learned to program synthesizers, started an independent record label, and began releasing his own music in 1977.

In 1981 he produced a classic of California electronic journey music called PLANETARY UNFOLDING. Long out of print, it was remastered and re-released by Projekt Records in 2022. Combining early analog synthesizers with natural ambient sounds, ethereal chorales, and powerful electronic effects, it's a profound journey across time and space.

On this transmission of HEARTS of SPACE, we feature PLANETARY UNFOLDING in two continuous "sides" (remember sides?) with an interlude by MICHAEL STEARNS from THE SOFT TOUCH OF MORNING LIGHT, and complete the hour with additional music by MICHAEL STEARNS from WITHIN: THE NINE DIMENSIONS.

MICHAEL STEARNS' PLANETARY UNFOLDING...on this transmission...of Hearts of Space.

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PGM 1315 'ECSTATIC RHYTHMS 2' : april 22-29

The Turkish-born, Montreal-based musician MERÇAN DEDE has long been a mainstay of our Middle Eastern ambient programs. In a world of hyper-conservative Islam that bans music entirely in some countries, Merçan Dede is a member of the diaspora of Middle Eastern artists who've reluctantly abandoned their homelands in search of personal and creative freedom.

Deeply influenced by the spirituality of the mystical Islamic sect of Sufism, his fusion of traditional acoustic sounds of the Middle East — the ney, the kanoun, the saz, and the oud (plus the Western violin) — with rhapsodic vocals and electronic soundscapes powered by the infectious rhythms of the darbuka hand drum — has brought him many awards, appearances at major world music festivals, film scoring work, and collaborations with other important artists.

On this transmission of HEARTS of SPACE — the microtonal melodies, trance-inducing rhythms, and electronic ambience of Middle Eastern music you can trance to...on a program called ECSTATIC RHYTHMS 2. We feature MERÇAN DEDE, plus Persian-fusion from ZIKR PROJECT, LOGA RAMIN TORKIAN and MAMAK KHADEM.

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PGM 1314 'STELLAR QUEST' : apr.1-8

When we listen to ambient electronic music, the first question is "Where am I?" 

From the names of the artists and the titles of the music, one of the most popular locations is cosmic space, and the virtual experience of flying through it and floating in it. What's the appeal? Well, in the now politically incorrect language of Star Trek — the thrill of going "where no man has gone before," the promise of adventure, and the bliss of expanding into vast, limitless space.

All this is despite the fact that real interstellar space is either a frigid vacuum hundreds of degrees below zero, or super-hot filaments of ionized plasma at 100,000 degrees or more, shot through by lethal streams of cosmic radiation from stars. In short, not a very hospitable place for delicate humans. And it takes decades to visit the neighbors. A virtual sonic journey is safer, warmer, and ultimately more satisfying.

On this transmission of Hearts of Space, a journey through endless starfields and brilliant galaxies, on a program called STELLAR QUEST. Music is by STARTERRA, DEEPSPACE, TERMINUS VOID, DREAMSTATE LOGIC, and TRANSPONDER.

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PGM 1313 'PIANO PURO' : mar.25 - apr.1

A quiet movement in contemporary music got started unintentionally in 1973, when a lanky, laid back American folk musician named GEORGE WINSTON released an album of ballads, blues, and ragtime called PIANO SOLOS. Influenced by the folk music revival of the 1960s, it was a modest success that attracted the attention of the rising Windham Hill label. In 1980 Winston released AUTUMN, an album of impressionistic solo piano ballads that caught the spirit of the times, sold over a million copies, and helped establish the success of what later came to be called New Age music.

Of course, European classical composers had been writing sophisticated music for solo piano ever since the pianoforte was invented at the beginning of the 18th century. But Winston's "rural folk piano" (as he called it) was something different: simple, lyrical, quiet, imagistic, and American as cherry pie. By avoiding the technical virtuosity and complexity of European classical music, Winston opened up a populist alternative. Today, musicians all over the world continue to create personal music for solo piano that combines the sophistication of European classical with the effortless appeal of folk music.

On this transmission of Hearts of Space, a program of recent contemplative music for solo piano called PIANO PURO. Music is by NILS FRAHM, LUDOVICO EINAUDI, MAX RICHTER, RODELIUS & TIM STORY, PETE KUZMA, and MATTHEW LABARGE.

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PGM 1312 'BEYOND EARTH & SKY' : mar. 18-25

What makes ambient electronic spacemusic different from other music genres?

Well, think of it as a kind of sonic "imagery" — a term from literature, art history, and photography. But unlike literary or pictorial images, the sound images of ambient electronic music reveal an underlying quest for psychological expansion into a world of infinite space, and ultimately, a way to transcend the limits of the physical world we live in.

In the formative years of ambient and electronic spacemusic in the 1970's and 80's, leading artists influenced by the ecology and environmental movements explored terrestrial themes, with albums like "SEA & SKY" by Japanese progressive musician STOMU YAMASH'TA, and "EARTH" and "SOIL FESTIVITIES" by VANGELIS. Other electronic artists found earthly themes too limited, sought release in the vastness of cosmic and contemplative space, and created the ambient soundscape we have today.

That quest for expansion is still with us, not just in music, but as a plan for human survival in ELON MUSK's project to colonize Mars. On this transmission of Hearts of Space, we embrace the quest for infinite space...on a program called BEYOND EARTH AND SKY. Music is by MICHAEL STEARNS & STEVE ROACH, MICHAEL STEARNS & ERIK WØLLO, MASSERGY, ANDREW LAHIFF, and MAX CORBACHO. 

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PGM 1311 'WINTER'S END' : mar. 4-11

Here on Hearts of Space, we regularly sing the praises of electronic sound, and its more or less unlimited ability to create ambient environments. Traditional acoustic instruments are the contrasting case — their limits are "built in" to their physical shape. But they come with one big advantage: what they lack in sonic flexibility, they make up for in inherent musicality. They are, after all, designed and built to be musical instruments.

One longtime Hearts of Space core artist who works exclusively with acoustic instruments is German musician STEPHAN MICUS. Since 1977 and 24 unique albums for the respected ECM label, he's searched the world for unusual and evocative instruments, sought out local musicians to teach him their secrets, and then used them in completely non-traditional ways in his recordings. Yet, far from limited, his music is deeply contemplative and pervaded with a generous sense of space.

On this transmission of Hearts of Space, we take a timely theme from the title of the 2021 album by STEPHAN MICUS called WINTER'S END. Music is by SUZANNE TENG & GILBERT LEVY, STEPHAN MICUS, AUKAI, GEORG REISS, the late DJIVAN GASPARYAN, and the LIAN ENSEMBLE.

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PGM 1310 'A NEW MUSIC IMMERSION' : feb.25-mar.4

The Venn diagram was invented in the 1880s by English mathematician JOHN VENN, to show the logical relation between sets. The overlapping circles of the diagram show where different sets have characteristics in common.

The Venn diagram of Ambient Music includes radically different genres: traditional folk ballads, classical adagios and choral music, cool jazz, ethnic and religious music, electronics, drones, and avant-garde and experimental music.

What these different genres have in common is a sensibility — a taste for slow, contemplative, space-creating, even trance-inducing sounds, and an appreciation of the magic of slow tempos, harmonic relationships, and spatial imagery.

In the 20th century, classical music evolved in many non-traditional directions. For a while it was thrown into a generic category simply called "New Music." More conceptual and experimental than other approaches, it's given us a consistently important catalog of ambient and contemplative music.

On this transmission of Hearts of Space, we focus on music by MICHAEL HARRISON, JASON TREUTING, CHAS SMITH, JOHN LUTHER ADAMS, and RICK COX from the COLD BLUE and CANTALOUPE MUSIC labels — on a program called A NEW MUSIC IMMERSION.

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PGM 1309 'TRANQUILITY GATE' : feb.18-25

Let us imagine, dear listener, the plight of an electronic musician. Even in a very modest studio, he or she commands a near-infinite choice of sounds to work with, and a near-infinite number of ways to modify and transform them. That's near-infinity squared — a paralyzingly large number. This "paradox of choice" once moved ambient godfather BRIAN ENO to declare that when working with electronic instruments, limitations are good.

Acoustic instruments evolved over the centuries to be playable, and support musical expression. They require physical skill to master, but once learned, they become familiar and dependable. Electronic instruments can be orders of magnitude more complex; their ergonomics run the gamut from limited to virtually unplayable, and they've now become constantly evolving software, challenging even the most technically competent.

Electronic keyboard instruments are a strategic compromise: they aim to combine the playability of an acoustic keyboard with the infinite sonic potential of electronics. But all those knobs, patch cords, processors, and choices tend to slow down the creation and performance of electronic music. For acoustic music that's a limitation, but ambient-electronic artists have embraced it to focus on slowly evolving, contemplative soundscapes and therapeutic sound journeys.

On this transmission of Hearts of Space, why slow is good in electronic music, on a program called TRANQUILITY GATE.  Music is by HINTERLAND, APERUS, STEVE ROACH, MATTHEW FLORIANZ, and KELLY DAVID.

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PGM 1308 'NORTHERN NIGHTS 3' : feb. 4-11

The heart of a long, cold winter is a good time to return to the far north folk music of Scandinavia: Norway, Sweden, Denmark, Finland, and Iceland. While not as celebrated as the music of its Celtic neighbors to the south, it's every bit as warm and soulful.

Originally distinguished by traditional instruments like the Finnish box zither called the kantele, and the Norwegian hardanger fiddle with its sympathetic strings — like other folk genres, in recent years electronics and studio recording techniques have been added to enrich and modernize the sound.

On this transmission of Hearts of Space, traditional and contemporary winter music from Scandinavia, on a program called NORTHERN NIGHTS 3. Music is by BUKKENE BRUSE, ANNBJØRG LIEN, PRISCILLA HERNANDEZ, SINIKKA LANGELAND, ARJA KASTINEN & PETER PHIPPEN, TRINA OPSAHL, LAKKI PATEY, and ØYSTEIN SEVÅG.

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PGM 1307 'PERSEVERANCE' : jan.28 - feb.4

We're at the nadir of winter in the Northern Hemisphere — a time when the yearlong journey around our native star seems endless. Battered by recurring storms, cold and tired, starved for light, ready for change...we have no choice but to wait for the return of the sun and the fresh promise of spring.

As if that wasn't hard enough, in the third winter of a historic pandemic we're impatient for the return of "normal." Yet the virus is a relentless adversary. So we continue: it's a time for patience, diligence, and persistence. With its slow pace, ambient-electronic music can expand our frame of reference, reduce our impatience, and soothe our anxieties.

On this transmission of Hearts of Space, electro-acoustic music to promote courage and stamina, on a program called PERSEVERANCE. Music is by HAMMOCK, JUHA-MATTI RAUTIAINEN, IN THE BRANCHES, ERIK WØLLO, JEFF PEARCE, EYES CAST DOWN, ROBIN GUTHRIE and HAROLD BUDD.

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