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PGM 1203 'INFINITE HORIZONS' : jan.18-25

This time on Hearts of Space, we're back to the floating worlds of ambient-electronic music.

It's an open-ended medium—almost unlimited in its ability to invent new sounds and use them to create virtual soundscapes. Despite epic changes in the business of recorded music over the last twenty years, the ambient-electronic genre is healthy and slowly expanding as a studio-based art. Composers on five continents hone their craft in personal studios, create albums, and release them on independent platforms like BANDCAMP.com and the major streaming services. 

They're "unsigned artists" and they like it that way. They collaborate with kindred ambient artists, and even work with independent record labels whose taste they like. Many of them have families and a skilled day job and their music is a serious avocation; others have found a way to survive on their music and related activity. 

Right now, everybody wins on the important thing: there's something at the heart of the ambient experience that feeds both the musicians and the audience, with a rich stream of serious new releases and a growing catalog of classics. 

On this transmission of Hearts of Space...another ambient electronic journey, on a program called INFINITE HORIZONS. Music is by ILUITEQ, ERIK WØLLO, IAN BODDY & ERIK WØLLO, JUHA-MATTI RAUTIAINEN, and STEVE ROACH.

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PGM 1202 'PIPE ORGAN MEDITATIONS' : jan.11-18

It's been far too long since we devoted a Hearts of Space program to the pipe organ. Yes, the pipe organ. Did you know that there's a public radio program dedicated entirely to the pipe organ called PIPEDREAMS? It's even older than Hearts of Space, and still going strong.

The pipe organ dates back to ancient Greece in the third century BCE. About a thousand years ago, it started making its way into churches. Because of its tonal character and volume, it proved the ideal instrument to lead people in singing. Over those 10 centuries, the organ evolved into an extremely high-tech machine. Its range, size, and importance grew along with the Christian religion—especially in Protestant churches, where the congregation sang together.

By about 1600, the pipe organ was the most complex machine that humans had created — massive assemblies of bellows, valves, wood and metal pipes that could fill the vast reverberant spaces of European cathedrals with powerful sound. Hundreds of years before amplified music, the pipe organ was the first full-spectrum, full volume, multi-voice, super-instrument. The organ console was what we'd now call an "advanced ergonomic user interface." It was—without a doubt—the king of instruments, used to lead sacred services and create sublime moments of elevated religious emotion.

The pipe organ enjoyed a kind of golden age in Baroque Europe during the 17th and 18th centuries, with rapid technological development and a growing repertoire of ecclesiastical works. By the early 20th century, French avant-garde composers were pushing the instrument to its limits—from delicate meditations and orchestrated tone poems, to bombastic showpieces exploring dissonance and extreme tonalities. Where Medieval, Renaissance and Baroque organ music had been limited to the church, the new music was also secular and experimental. In France, one devout Catholic composer embraced both the church and the avant-garde: OLIVIER MESSIAEN's music illustrated themes from Christian history and mythology, using an advanced musical language and playing techniques.

On this transmission of Hearts of Space, we bring together contemplative classics by OLIVIER MESSIAEN with contemporary composer-performers, on a program called PIPE ORGAN MEDITATIONS.

Music is by OLIVIER MESSIAEN, KIT DOWNES, ARVO PÄRT, ZVONIMIR NAGY, and PETER MICHAEL HAMEL.

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PGM 1201 'SPACE GUITAR SUPERSTARS' Part 2 : dec.28-jan.4

This week, dear spacefan, we conclude our two-part mini-documentary on the electronic space guitar celebrating our 1200th program—with music by American, English and Norwegian artists who extended the dimensions of the instrument in the 21st century. 

On these centennial programs, we take a retrospective look at the music we feature, often documentary-style, rather than our normal uninterrupted format. Of course, if you listen on our web service or mobile apps, you can turn off the voiceovers with one click or tap and still hear uninterrupted music. 

On this transmission of Hearts of Space: SPACE GUITAR SUPERSTARS — Part 2. Music is by BUCKETHEAD, DANIEL LANOIS, LEO ABRAHAMS, EIVIND AARSET, CLIVE WRIGHT, JON DURANT, DAVID HELPLING, ROBIN GUTHRIE, CARL WEINGARTEN, HAMMOCK, and JEFF PEARCE.

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PGM 1200 'SPACE GUITAR SUPERSTARS' Part 1 : dec.14-21

This week, dear spacefan, we reach another milestone in our journey through musical time and space, with our 1200th transmission in the Hearts of Space series. It's taken 35 years. 

On these centennial programs, we like to take a retrospective look back at the music we feature, often documentary-style, rather than our normal uninterrupted format. (Of course, if you listen on our web site or with our mobile apps, you can turn off the voiceovers with one click or tap and still hear uninterrupted music.) 

This time we focus on the evolution of the electronic and ambient guitar since the 1970s—on Part 1 of a two-part program called SPACE GUITAR SUPERSTARS. 

And let's admit right up front that even with two hours, the subject is so extensive that we can't possibly include every artist who's made a contribution: these are just some of the highlights we've featured on Hearts of Space. 

Let's first recall that in the mid-20th century musical world of ERIC CLAPTON and JIMI HENDRIX, the electric guitar was transcendent—the lead voice and dominant sound in popular music. 

But the confluence of musical innovation, new audio technology, and psychedelic drugs led to an unexpected development: the electric guitar became electronic, and with "effects" the sound of the instrument expanded and de-materialized into a vehicle for travel in virtual acoustic space. 

SPACE GUITAR SUPERSTARS (Part 1)... on this transmission of Hearts of Space.

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PGM 1199 'WINTER STRINGS' : nov. 30 - dec. 6

December arrives on the heels of the Thanksgiving holiday, and we settle into winter in earnest. From the chilly forest countries of northern Europe—Germany, Poland, Ukraine, England and Estonia—comes a post-modern neo-classical music that's traditionally tonal and modal—warm, slow and contemplative. It's a deliberate step away from the old avant-garde frontiers of atonality and serialism to a style that's spiritually resonant and broadly popular. 

On this transmission of Hearts of Space, a program called WINTER STRINGS. Music is by MAX RICHTER, ARVO PÄRT, VALENTIN SILVESTROV, FRANZ SCHUBERT, STEFANO SCODANIBBIO, HENRYK GÓRECKI, BEN LUCAS BOYSEN, and LUDOVICO EINAUDI.

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PGM 1198 'LITTLE ETERNITIES' : nov.16-23

You may be surprised to learn that in philosophy, there are two kinds of eternity: one exists outside of time; the other exists within time but is of indefinite duration. That kind of eternal is called sempiternity or everlastingness. 

Whichever kind of eternity you prefer, the idea of something that goes on forever, endless and infinite, has a powerful psychological appeal in an age of rapid, constant, disorienting change. It's a radical absolute—one of the few concepts religion, science and philosophy share; and more therapeutically, a place where our overburdened minds can go to rest. 

Inspired by these heady speculations, contemporary composers have sought to create a kind of timeless music. Whether acoustic or electronic or both, it creates a sense of unlimited time in musical space. On this transmission of Hearts of Space, we seek the timeless...on a program called LITTLE ETERNITIES.

Music is by JÓHANN JÓHANNSSON, CHAD LAWSON, TALE OF US, TOM CAUFIELD, KEVIN KELLER, ÓLAFUR ARNALDS, A WINGED VICTORY FOR THE SULLEN, and JEFF GREINKE.

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PGM 1197 'TWILIGHT EARTH 4' : nov. 9-16

The dulcet tones of the Native American cedar flute have inspired a soothing sub-genre of contemplative music. Pioneered by native musicians from the American Southwest, over the last 30 years the genre has attracted non-native musicians, who expanded into electronics and exotic percussion. It's a sound we enjoy in the fall, when it complements the mellow light and withering colors of the landscape, and evokes the vast, echoing canyons of the high desert. 

On this transmission of Hearts of Space, an Indian Summer journey for Native American cedar flute, on a program called TWILIGHT EARTH 4.

Music is by ANN LICATER, COYOTE JUMP, COYOTE OLDMAN, BYRON METCALF, JOHNNY WHITEHORSE, PAMELA WHITMAN & RICH KURTZ, TONY GERBER, MYSTERIES OF THE NIGHT, and SCOTT AUGUST.

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PGM 1196 'GHOSTLY SHADOWS' : oct. 26-nov. 3

Halloween comes at the end of October, a very different celebration of the dark side of the human psyche. It's the time we willingly immerse ourselves in stories of death, fear, the supernatural...and the myths and rituals we create around them. 

Credit for the tradition generally goes to our Celtic ancestors, who combined the old pagan harvest celebration of Samhain—with its exciting nighttime bonfires—and the three-part Christian festival of Allhallowtide: a mournful commemoration of recently departed souls, saints and martyrs, whose spirits were said to wander the earth at this time of year in search of...hospitality. 

These traditions are a rich creative field for musicians of the "Dark Ambient" genre. They weave together deep drones, disembodied voices, melancholy wailing, frigid bells, and gloomy strings—with a dark galaxy of powerful electronic and environmental effects to create truly epic electro-acoustic worlds—soundtracks to films you'd rather hear...than see. 

On this transmission of Hearts of Space, a gloomy-stormy-floaty Dark Ambient journey, on a program by Canadian guest producer DAVID J. EGAN called: GHOSTLY SHADOWS.

Music is by DARK SANCTUARY, THE GHOST BETWEEN THE STRINGS, ARKTAU EOS, TAPHEPHOBIA, NEVOD, LUSRUTA, BASS COMMUNION, SKAVEN, DEAN DE BENEDICTUS, and NEST.

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PGM 1195 'DESCENDING DARK 2' : oct.19-26

This could be the sound of the Sugar Plum Fairies in the netherworld — we're coming up on Nutcracker time, after all — but no: it's the on-ramp to a journey into the cooling, darkening, deepening autumn soundscape. It's time to join the animals and prepare for the long winter ahead; time to focus, plan and complete those lingering projects, and get together with friends you missed over the summer. 

On this transmission of Hearts of Space, a seasonal electronic journey in the autumn soundscape, on a program called DESCENDING DARK 2. 

Music is by SLEEPY TOWN MANUFACTURE, SOLARIS, PAULINA CASSIDY, DEBORAH MARTIN, KIT WATKINS, KLAUS SCHULZE, ERRANT SPACE, and BOB HOLROYD.

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PGM 1194 'EAST MEETS NORTH' : oct. 12-19

In 35 years of Hearts of Space, there've only been a handful of occasions when we devoted an entire program to a single album or composition. This week we do it with a superb collaboration between Iranian singer MAHSA VAHDAT and Norway's 50 voice SKRUK CHOIR, under the direction of PER ODDVAR HILDRE, with music and arrangements by the great Norwegian pianist TORD GUSTAVSEN from the album I VINENS SPEIL—In the Mirror of Wine. 

It's a journey across time, space, and culture, a moving encounter between traditional Persian songs, Norwegian church music, and jazz. A program called EAST MEETS NORTH, on this transmission of Hearts of Space.

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PGM 1193 'FLOATING WORLDS 2' : sept.21-28

One of the core experiences of ambient and electronic spacemusic is the feeling of weightless floating. These subtle sounds seem to dematerialize us, expand our personal space, and slow our sense of time. It's kind of magical — and for many of us, highly pleasurable, even addictive. 

Since the introduction of mass-produced electronic instruments in the 1970s, anyone can create floating textures, but even if you're just a listener, the experience is widely enjoyed and often described in therapeutic terms as relaxing, healing, and transformative. 

On this transmission of Hearts of Space, another anti-gravity journey on electronic waves, on a program called FLOATING WORLDS 2.

Music is by PAUL AVGERINOS, ERIK WØLLO, HOWARD GIVENS & CRAIG PADILLA, PHILLIP WILKERSON, and MAX CORBACHO.

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PGM 1192 'MINIMAL GROOVE' : sept.14-21

What's in a groove? In music the term usually describes a repeating rhythm pattern that creates a cycle of movement and a sense of propulsion. The word has been used in jazz since the 1930's, but grooves have been key to dance music around the world for centuries, and are an element of many popular genres. 

Swiss musician DON LI has taken the concept farther, working with what he calls "curved rhythms" and subtle changes in phrasing that create changing perceptions of time and space. His work is often described as "reductive" or "minimal." 

On this transmission of Hearts of Space, we explore minimal rhythms and ambient patterns, on a program called MINIMAL GROOVE. Music by DON LI, TWILIGHT ARCHIVE, ALEX HAAS & BILL LASWELL, NELSON FOLTZ & TOM LYNN, SATORI, and MIDORI TAKADA.

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PGM 1191 'ENVIRONMENTS' : sept. 7-14

 

IRV TEIBEL was an innovator and entrepreneur who created the ENVIRONMENTS series of ambient sound recordings in the 1970s. He perfected the concept of functional therapeutic background sound, once comparing his recordings to "a bar of soap." Teibel realized that nature sounds had a soothing, calming, restorative quality, so he concentrated on ocean waves, flowing streams, birds, insects, wind and rain. Listening to nature sounds takes us back to pre-industrial, pre-electronic media times, where we spent hours every day immersed in natural sound environments. In fact, it's fair to say that our stereoscopic hearing system itself evolved to guide, position, and protect us in the natural environment. 

With characteristic bravado, Teibel called his one-man record label SYNTONIC RESEARCH. His obsessive persistence, technical talent, genius for branding and marketing, and over-the-top, buzzword-filled copywriting led to the first commercially successful series of ambient sound recordings. The debut release in 1969 was an ocean recording, which he branded "The Psychologically Ultimate Seashore." Against all odds, it was a hit—picked up by a major label and sold millions, which gave him the freedom to expand his idea into a series. Teibel wasn't a purist; when he couldn't get a real ocean recording that fit his concept, he turned to a scientist friend at Bell Labs and created it electronically on an early IBM mainframe. 

Until recently, his work was an almost forgotten artifact of the 1970s. But according to a profile by CARA GIAIMO at atlasobscura.com, Teibel was the transition between the 1960s era of Muzak, "mood music" and cheesy sound effects records, and the 1980s era of New Age atmospherics, Ambient music and Brian Eno. And, not coincidentally, Hearts of Space. 

The original ENVIRONMENTS LPs and later CDs were out of print for years, but recently they appeared on the full-catalog streaming services like Spotify and Apple Music. Not only that — thanks to new age sound historian DOUGLAS McGOWAN and the NUMERO GROUP reissue label, you can now buy the complete ENVIRONMENTS catalog of 22 long-form ambient nature recordings for just $2.99 as an app— making the experience affordable, personal, portable and accessible, even when you're offline. It's so effortless to play them in the app that it encourages more use, experimentation, and appreciation. How cool is that? 

On this transmission of Hearts of Space, a celebration of the pioneering ambient sound recordings of IRV TEIBEL and Syntonic Research, on a program called ENVIRONMENTS. We'll feature selections from 16 of the ENVIRONMENTS series recordings, tracking the sounds of a day from dawn to night and beyond, into contemplative environments for digital bells and choral voices.

The gentle world of natural ambient sound: ENVIRONMENTS...on this transmission...of Hearts of Space. 

Additional Information on Irv Teibel:
Profile article at atlasobscura.com
Irv Teibel bio
Wikipedia article on Irv Teibel

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PGM 1190 'IN A SPANISH MOOD' : aug.10-17

Only a few places can claim a native music with worldwide popularity, but the province of Andalusia in southern Spain is one. With roots going back to medieval times, in the late 18th century a rare fusion of Moorish, Christian, Sephardic Jewish and Gypsy cultures gave birth to the fiery rhythms and dark harmonies of flamenco. This is the culture that gave us the Spanish guitar — a descendant of the Arabic lute called the oud. For sheer cultural impact, it's a record that's hard to beat. 

On this transmission of Hearts of Space, contemporary Spanish fusions and the soulful music of Andalusia, on a program called IN A SPANISH MOOD.

Music is by B-TRIBE, JOHANNES LINSTEAD, BOB ZOPP, JEFF DWARSHUIS, GINO D'AURI, the AL-ANDALUS ENSEMBLE, ADAM HURST, ANDRE FERIANTE, MILOŠ, and BENEDETTI & SVOBODA.

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PGM 1189 'DEEP DUB' : july 27-aug 3

The history of Jamaican Dub music is rich and fascinating. Dub grew out of reggae in the 1960s, and evolved well beyond its popular parent. It was a studio craft where producers created instrumental remixes of reggae tracks by removing the vocals, adding echo, reverb and delay, and dubbing in new ambient sounds. Essentially, dub was an early form of popular electronic music.

If you think all this had something to do with cannabis, you'd be understating the case. In a 1982 essay, LUKE EHRLICH said: "With dub, Jamaican music spaced out completely. If reggae is Africa in the New World, then dub must be Africa on the moon; it's the psychedelic music I expected to hear in the 1960s...and didn't. The bass and drums conjure up a dark, vast musical portrait of outer space, with sounds suspended like glowing planets or the fragments of instruments careening by, leaving trails like comets and meteors."

Dub was a natural link to later electronic genres like techno, ambient, trip hop and electronic dance music. On this transmission of Hearts of Space, the trancey beats of Jamaican Dub and its electronic descendants, on a program from guest producer DAVID J. EGAN called DEEP DUB. Music is by JAH WOBBLE & MARCONI UNION, ORKUS, FINGERS IN THE NOISE, ECHO GRID, PURL & DEFLEKTION, LOSCIL, and MOTIONFIELD.

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PGM 1188 'SUMMERTONES 3 : july 20-27

Believe it or not, the combination of ambient nature sounds and electronic music was actually an innovation in the 1970s. And you may be surprised that the idea had a history in European classical music, especially in England and France.

In England, it was the so-called "pastoral" composers like ARNOLD BAX and RALPH VAUGHAN WILLIAMS, who created orchestral images of nature. In France, it was the Impressionists, from CLAUDE DEBUSSY to OLIVIER MESSIAEN. They didn't have recordings, so they created new instruments and playing techniques to imitate natural sounds like wind and birdsongs.

By the mid-20th century, we could record the sounds of nature, edit them and play them back at will. In the 1950s, avant-garde composers like JOHN CAGE were promoting an awareness of ambient sound as equal to music. Music...was how you listened. Incorporating nature sounds into music was the next step; beside, film soundtracks had been doing it for years.

The psychology is foundational: humans evolved listening to natural sounds, and they send a message we respond to instinctively. For example, birdsong on a gentle summer morning is delightful and calming. Blend in some subtle synthesizers, season with gourmet reverberation and you have what two young Canadians named MYCHAEL DANNA and TIM CLÉMENT called "environmental electronic music."

It's an idea that was embraced by New Age musicians and in time became a bit of a cliché. But it led to an electronic genre of extended tone-color journeys in virtual space, which is still alive and well. On this transmission of Hearts of Space...the fluid, airy sound of summer spacemusic, on a program called SUMMERTONES 3.

Music is by MEG BOWLES, DANNA & CLÉMENT, CHRONOTOPE PROJECT, ALTUS, and STELLIA.

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PGM 1187 'DESERT SOUL 2' : july 13-20

Over the last 35 years we've broadcast some 31 programs inspired by the evocative, intensely moving music of North Africa and the Middle East. And almost every time, I've added a disclaimer that these programs have nothing to do with the contentious politics of the region. After all, these are some of the oldest cultures on earth, with complex, artistically evolved musical traditions. But in one sense, politics has made a difference. The political ferment has led to a diaspora of hundreds of the region's best musicians, who now live and work in France, Germany, Great Britain, the Netherlands, Canada, and the U.S.

From the relative safety and stability of western cities, nostalgia for their homelands has produced what poet HAKIM BEY memorably called "romantic transcultural exile music of the Middle East." These creative fusions of Arabic, North African, Persian and electronic music stand as living examples of cultural tolerance and communication.

I'm Stephen Hill and on this transmission of Hearts of Space, we return to the superheated spaces of the Middle East and North Africa, on a program called DESERT SOUL 2.

Music is by MICHEL BANABILA & MEHMET POLAT, RHO UTASATO, YUVAL RON ENSEMBLE, MAHSA VAHDAT, PETE NAMLOOK & BURHAN OÇAL, ALEX KHASKIN, DHAFER YOUSSEF, ANOUAR BRAHEM, MERCAN DEDE, and OMAR FARUK TEKBILEK.

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PGM 1186 'TRIBAL AMBIENT' : june 29-july 6

It's not all that often that a new strain of popular electronic music arrives in the culture fully formed, but it happened in 1988 in the wake of STEVE ROACH's ground-breaking album DREAMTIME RETURN. Like Stravinsky 75 years earlier with The Rite of Spring, Roach realized that electronic music needed a dose of primitive energy and physicality — and he found it in the trance-inducing music of the aboriginal tribes of Australia.

The new genre was called "Techno-Tribal" and it combined electronic atmospheres with primitive rattles, drums, rocks, and the aboriginal didgeridoo. If our current political tribalism is an index of popularity, tribal music should be all the rage. But most electronic artists are urban, and have been influenced by Electronic Dance Music.

On this transmission of Hearts of Space, electronic atmospheres meet trance percussion, on a program called TRIBAL AMBIENT. Music is by STEVE ROACH, BYRON METCALF & JENNIFER GRAIS, INLAKESH, FRORE & SHANE MORRIS, JOHN VORUS, D LOOP and KEVIN BRAHENY [FORTUNE].

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PGM 1185 'COSMIC TRAVELER 2' : june 22-29

Since the earliest days of popular electronic music, artists have created sonic images of cosmic space. Where traditional instruments failed, synthesizers seemed right at home in the endless vacuum of the interstellar void. Exploring this vast environment led to a kind of traveling music of slowly changing rhythmic loops — originally made on hardware "sequencers," later on dedicated "loopers," and now with software. Invented in Berlin in the 1970s by German artists like KLAUS SCHULZE and TANGERINE DREAM, the "Berlin school" style was widely influential and still has descendants today.

Extending the metaphor of cosmic travel...once you arrived at your destination, it was time to power down the propulsive rhythms and experience the awesome cosmic panorama. This led to a slower, quieter, beatless electronic music for floating in space — static and contemplative, the progenitor of Chill.

On this transmission of Hearts of Space, electronic meditations on space and motion, on a program called COSMIC TRAVELER 2.

Music is by STEVE ROACH, BROEKHUIS KELLER & SCHÖNWÄLDER, MICHAEL BRÜCKNER, JACK HERTZ, RICHARD BONE, CHRISTOPHER WILLITS & RYUICHI SAKAMOTO, and SVERRE KNUT JOHANSEN.

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PGM 1184 'BEYOND THE RAGASPHERE : june 15-22

Slow and gentle, the harmonic drone and the ancient bansuri flute invite us to another journey in the contemplative music of India. Half a world and centuries away from European practice, Indian classical music developed in its own unique way. It focused on melody and rhythm rather than harmony, evolved a sophisticated framework for improvisation in live performance called raga, and a set of rhythm rules called tala.

The goal of raga is to create mood, atmosphere and feeling for the listener. And though Indian music once sounded impossibly strange and exotic to European ears, as a result of the tireless touring of Indian virtuosi like RAVI SHANKAR and ALI AKBAR KHAN, it was embraced in the 20th century by Western avant garde and experimental musicians, and later by others exploring the new frontiers of electronic music. Building on the sounds, instruments and strategies of Indian raga, they created new hybrids of Eastern and Western music which are still being explored today.

On this transmission of Hearts of Space, a journey in the creative world of Indian fusion, on a program called BEYOND THE RAGASPHERE. Music is by JOHN WUBBENHORST, AL GROMER KHAN, ALAM KHAN, MARK DEUTSCH, HANS CHRISTIAN, CRAIG PRUESS & ANURADHA PAUDWAL, and ALIO DIE.

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PGM 1183 'HYPERTRONIC' : june 1-8

In the fair days of late spring, electronic winds blow warm and steady, while sequencers spin creative rhythms, propelling us into the active days and balmy nights of summer. DJs prepare their sets for the summer festivals, while ambient composers create expansive soundscapes for virtual travel. Attention Spacefans: it's party time.

On this transmission of Hearts of Space, an hour of technotronic rhythms and ambient atmospheres, on a program called HYPERTRONIC.

Music is by S1GNS OF L1FE, MARC HARTMAN, MEES DIERDORP, MARTIN NONSTATIC, ASC, CRYSTAL MOON, LEMONGRASS, ISHQ, and ALPHA WAVE MOVEMENT.

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PGM 1182 'FLOWING INTO SPRING 4' : may 25-june 1

Back in 1975, a Northern California steel string guitarist named WILL ACKERMAN began playing and selling cassettes of his music around the Stanford University campus. It was so popular it led to the founding of Windham Hill Records in 1976 — the first big success of the music trend that came to be called New Age Music in the 1980s.

Instrumental, acoustic, and generally low key, Windham Hill literally became the poster child for a grab-bag genre that became ever more unfocussed as it grew—a category for anything that wasn't jazz or folk, rock or pop. But it served a need for quiet, relaxing, meditative instrumental music that continues today.

In time the New Age Music category became so diverse as to be almost meaningless. Home studios, inexpensive publishing on cassette and later CD, meant that anyone could release their music, and the genre's reputation deteriorated to the point that serious producers of atmospheric music called theirs Ambient, Electronic, or just about anything else.

Yet — in the last few years, the New Age genre has seen a critical reconsideration, with carefully curated compilations of historical material, while both veterans and descendants of the genre are creating new music that merits serious attention. A good example is the group FLOW, which includes none other than steel string guitarist WILL ACKERMAN, in a kind of New Age "supergroup."

On this transmission of Hearts of Space, we ride the vernal breezes into the gentle sound of the season, on a program called FLOWING INTO SPRING 4.

Music is by FLOW, PETER KATER, JIM GABRIEL, MICHAEL WHALEN, MIACHAEL BRANT DeMARIA, CHRIS HAUGEN, TOM MOORE & SHERRY FINZER, and MAJESTICA.

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PGM 1181 'CONFESSIONS' : may 11-18

CONFESSION...it's simple in theory: to tell the truth. In practice? It's more complicated.

Confession plays a critical role in the justice system, in religion, in therapeutic and personal relationships. And at a time when the very idea of objective facts and truth is being challenged, confession is more important than ever.

A true confession is a revelation — a release of hidden knowledge. And it's often accompanied by powerful, even cathartic, emotions. No wonder confessional songs and music are found in some of the oldest cultures on earth.

On this transmission of Hearts of Space...the quiet sound of emotional truth, on a program called CONFESSIONS.

Music is by ADAM HURST, ELINA DUNI, MIRABAI CEIBA, SAVINA YANNATOU, BADI ASSAD, JOSÉ LUIS MONTÓN, ESTÁS TONNÉ, ANDRÉ GERAISSATI, and AMBERFERN.

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PGM 1180 'FLOATING WINDS : may 4-11

One of the most seductive musical combinations is the soft cry of a wind instrument — in this case, a soprano saxophone — floating high and free above a cushion of electronic sound. It's a combination that brings out the best of its parts: the melodic, emotional expression of the horn; the spacious sonic architecture of an ambient electronic soundfield.

Winds with electronics are relatively new, but the sound of a primitive flute or horn resonating in acoustic space goes back to the cave homes of our earliest ancestors.
It's a formative sound experience in the evolution of the ambient sensibility, revived
in the 1960s by clarinetist TONY SCOTT in MUSIC FOR ZEN MEDITATION, and by flutist PAUL HORN in his classic recording INSIDE THE TAJ MAHAL.

On this transmission of Hearts of Space, we explore the happy combination of acoustic winds and ambient electronics, on a program called FLOATING WINDS. Music is by KEVIN BRAHENY FORTUNE, MATT BORGHI & MICHAEL TEAGER, KLAUS SCHULZE (with TOBIAS BECKER), and KIT WATKINS.

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PGM 1179 'TRANCE PLANET 2' : april 27-may 4

SPRING: it arrives in the Northern Hemisphere in fits and starts. It takes several months before we're all on the spring page. In the meantime, we can take a hint from our pagan ancestors, who went in for big parties around the vernal equinox to let the gods know they were ready for spring.

In those days, drummers got everyone moving around the communal bonfires. These days, hand drummers tap out mesmerizing rhythms on new melodic percussion instruments like the PanArt Hang and the Halo handpans. On this transmission of Hearts of Space...we follow the sound of the Hang, on an ethno-tronic journey for spring called TRANCE PLANET 2.

Music is by JAMES HOOD, HANG IN BALANCE, HANG MASSIVE, LAURA INSERRA & DARREN GIBBS, CHRISTOPHER OF THE WOLVES, and PETER GARLAND.

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