Beyond the Liner Notes: Mantra Chill
Mantra Chill 2007
The concept behind this album was to create a sound-healing tool.
In new age speak; the vibrations (in the form of songs) would transport the listener into an altered state of consciousness resulting in peace, love, and all around enlightenment. This needed to be accomplished with no effort on the listener’s part. It had to work as a pure cause and effect reaction; so long as one heard it, the body, mind and spirit would respond.
In scientific terminology; we were looking to create sounds that would result in an aural-neural-endocrine stimulation (ears, nerves, and glands) causing a parasympathetic nervous system response. This is the relaxed state of wellness, no adrenalin, all systems at ease.
In normal English; the music would have the direct effect of relaxing the body and mind by utilizing know sound therapy concepts. Our bodies and minds respond in a de-stressing way allowing maximum healing and serenity.
Many early reports of the effects of this album came from grateful parents who found that it calmed their children, especially on long car rides. The music transformed the kids out of their “Are we there yet?” attitude to a “We’re here, now.” state of being. Some other positive feedback we received in regards to using this album (besides the obvious; yoga and massage) were hospice, anxiety and insomnia.
How was this achieved? In part, through the use of tone, timing, and intuition.
For example, the first track, Ong Namo, is set in a D minor Dorian mode, which is known to give music a timeless, primitive feeling. Over the past few hundred years, Dorian (and a host of other music modes) went out of favor as the European dominance of musical composition limited the majority of popular tunes to classic C major or minor modes. But the Dorian mode has persisted here and there, its fans being drawn to the ancient, and even Oriental moods that are evoked by its sound.
A bit of popular music has been written in Dorian mode. For example, songs such as Greensleeves, Along Comes Mary and Scarborough Fair can suggest feelings of medieval times. The darker side of Dorian mode can be heard in classic rock tunes such as Another Brick in the Wall, Eleanor Rigby, Billie Jean, and the Moog synthesizer solo from Light My Fire. And now you have Ong Namo to add to the list.
“Timing is everything.” Anonymous
Then there's the beat. “Ong Namo is in a 7/4 time signature which is very unusual. To contrast, most modern music is in patterns of 4, 8, 16, etc. When the conductor says “ A one, and a two, and a three…” we plug right in to the pattern, we know exactly where the “and a four” is going to land. But there are many other time signatures used in the more ancient music traditions of Asia and Africa and they all exert different effects on our minds and bodies. The 7/4 timing, seven beats in each phrase, draws us into a hypnotic state, a trance mind, where the listener can become spellbound by the way the "eight" beat never arrives. After seven counts the scale begins again. But the eighth beat’s absence is noted by the unconscious, leaving one mesmerized when the cycle starts over. It can be very euphorically relaxing, like the gentle rocking of waves helping you drift off into bliss.
WWMJD?
A big part of creating Ong Namo, and the whole album, was intuitive. We spent untold hours listening and drifting off to la-la land and if it didn’t feel right we reworked it until it was. And it was difficult work to stay awake, paying attention while letting the music lull us into altered brain states. And we always asked WWMJD? Literally, when confronted with a production decision we would ask each other, “What would Michael Jackson do?” Since I had been blessed to closely observe him make his musical magic I set a standard that, like Michael, we would accept nothing short of our absolute best. No matter how difficult or frustrating, we would keep working the mix until we knew in our hearts we had “it.”
Long before I produced any music, long before I was a musician, I sat in recording studios from L.A. to Milan with some of the greatest record producers of our time, to watch and soak up what they were doing. As a “chiropractor to the stars” I was given opportunities to see behind the scenes and my natural curiosity allowed me to learn by paying attention and asking questions. Luminaries of the studio such as Hugh Padgham (Genesis), Don Was (Stones, Bonnie Raitt), and Bob Clearmountain (Bruce Springsteen) were more than generous with sharing what was on their minds as they sat at the control board and created musical history. These experiences were invaluable in informing my intuitive sense when it came to actually producing recordings of my own.
An intuitive side note: We unintentionally released this album exactly 40 years to the day after Sgt. Peppers came out.
“Speech is silver, silence is golden.” – Midrashic Biblical commentaries, 600AD
We thought a good way to end this album would be silence, a time to reflect and let the effects of the healing vibrations permeate into our hearts and souls. So we decided to let there be a stretch of quiet at the end, several minutes in fact. And then Jason Carter brought up the concept of a “hidden track.”
This is when a new song begins after a period of silence. But you can’t get to the extra track by clicking to the next song, it is still part of main song with a gap in between. It is “hidden” and meant to be a surprise when it plays. Although The Beatles and Nirvana, to name a few, used this technique it is not really a popular thing to do. So we asked, “WWMJD?”
Sara had a little phrase she wanted to include in the album but we never found the right spot for it. People still tell me that they've listened to the album dozens of times and are surprised when they finally discover the hidden track. When Sara’s melodic, almost whisper “Oh God, my being is divine” breaks the silence and brings the listener back to home planet the real end of the album is moments away.
I was never able to play this music for Michael Jackson before he was gone. But from the way he was always so supportive and generous I like to think he would have had something nice to say. He was that kind of guy...
TRACKS
1. Ong Namo 11:39
2. Ocean 8:49
3. Mool Mantra 10:21
4. Within You Without You 8:14
LYRICS/CREDITS
Ong Namo
Humbling oneself before the Divine in all - Ong Namo Guru Dev Namo
Guitar, zils – Steve Koc
Vocals – Sara Wiseman
Additional vocals – Kalea Wiseman
Tabla – Mark Powers
Keyboard drones – Jason Carter
Ocean
Bowing before the primal, feminine life force, the peaceful Mother ocean
Adi Shakti, Sarab Shakti, Pritham Bhagawati, Kundalini Mata Shakti, Namo Namo…Om Shanti Om
Guitar, hand percussion & the gong – Steve Koc
Vocals – Sara Wiseman
Didgeridrone - friendly spirits
Mool Mantra
There is only one Creator of all creation…this will always be true
Ek Ong Kar, Sat Nam, Karta Purakh, Nirbhao Nirvair, Akal Moort, Ajooni Saibhang, Gurprasad, Jap, Aad Sach, Jugaad Sach, Hai Bhi Sach, Nanak Hosi Bhi Sach
Guitar, rainstick – Steve Koc
Vocals, piano – Sara Wiseman
Cymbals – Mark Powers
Within You Without You
The Beatles revisited
Guitar– Steve Koc
Vocals – Sara Wiseman
Tabla – Mark Powers
Keyboard drone – Benjy Wertheimer
Tamboura - Michael Stirling
Original music by Steve Koc
Published by Chaka Groove ASCAP ©2007 all rights reserved
“Within You Without You” by George Harrison, SONY/ATV Tunes LLC dba ATV Northern Songs Catalog © 1967 all rights reserved
Recorded, mixed, and mastered by Jason Carter at Wavelength Multimedia Salem, Oregon, www.wavelengthmutlimedia.com
Original album art by Steve Koc ©2007
Martyrs of Sound gives Thanks and Praises: God and Our Families, Jason Carter, John Doan, Mark Powers, Dog Skulls, Tim Knight, Julie Hoy, Layne Young, and Hollee Haas. Extra special thanks to Kaley, Charlie and Emma. We love you!
The concept behind this album was to create a sound-healing tool.
In new age speak; the vibrations (in the form of songs) would transport the listener into an altered state of consciousness resulting in peace, love, and all around enlightenment. This needed to be accomplished with no effort on the listener’s part. It had to work as a pure cause and effect reaction; so long as one heard it, the body, mind and spirit would respond.
In scientific terminology; we were looking to create sounds that would result in an aural-neural-endocrine stimulation (ears, nerves, and glands) causing a parasympathetic nervous system response. This is the relaxed state of wellness, no adrenalin, all systems at ease.
In normal English; the music would have the direct effect of relaxing the body and mind by utilizing know sound therapy concepts. Our bodies and minds respond in a de-stressing way allowing maximum healing and serenity.
Many early reports of the effects of this album came from grateful parents who found that it calmed their children, especially on long car rides. The music transformed the kids out of their “Are we there yet?” attitude to a “We’re here, now.” state of being. Some other positive feedback we received in regards to using this album (besides the obvious; yoga and massage) were hospice, anxiety and insomnia.
How was this achieved? In part, through the use of tone, timing, and intuition.
For example, the first track, Ong Namo, is set in a D minor Dorian mode, which is known to give music a timeless, primitive feeling. Over the past few hundred years, Dorian (and a host of other music modes) went out of favor as the European dominance of musical composition limited the majority of popular tunes to classic C major or minor modes. But the Dorian mode has persisted here and there, its fans being drawn to the ancient, and even Oriental moods that are evoked by its sound.
A bit of popular music has been written in Dorian mode. For example, songs such as Greensleeves, Along Comes Mary and Scarborough Fair can suggest feelings of medieval times. The darker side of Dorian mode can be heard in classic rock tunes such as Another Brick in the Wall, Eleanor Rigby, Billie Jean, and the Moog synthesizer solo from Light My Fire. And now you have Ong Namo to add to the list.
“Timing is everything.” Anonymous
Then there's the beat. “Ong Namo is in a 7/4 time signature which is very unusual. To contrast, most modern music is in patterns of 4, 8, 16, etc. When the conductor says “ A one, and a two, and a three…” we plug right in to the pattern, we know exactly where the “and a four” is going to land. But there are many other time signatures used in the more ancient music traditions of Asia and Africa and they all exert different effects on our minds and bodies. The 7/4 timing, seven beats in each phrase, draws us into a hypnotic state, a trance mind, where the listener can become spellbound by the way the "eight" beat never arrives. After seven counts the scale begins again. But the eighth beat’s absence is noted by the unconscious, leaving one mesmerized when the cycle starts over. It can be very euphorically relaxing, like the gentle rocking of waves helping you drift off into bliss.
WWMJD?
A big part of creating Ong Namo, and the whole album, was intuitive. We spent untold hours listening and drifting off to la-la land and if it didn’t feel right we reworked it until it was. And it was difficult work to stay awake, paying attention while letting the music lull us into altered brain states. And we always asked WWMJD? Literally, when confronted with a production decision we would ask each other, “What would Michael Jackson do?” Since I had been blessed to closely observe him make his musical magic I set a standard that, like Michael, we would accept nothing short of our absolute best. No matter how difficult or frustrating, we would keep working the mix until we knew in our hearts we had “it.”
Long before I produced any music, long before I was a musician, I sat in recording studios from L.A. to Milan with some of the greatest record producers of our time, to watch and soak up what they were doing. As a “chiropractor to the stars” I was given opportunities to see behind the scenes and my natural curiosity allowed me to learn by paying attention and asking questions. Luminaries of the studio such as Hugh Padgham (Genesis), Don Was (Stones, Bonnie Raitt), and Bob Clearmountain (Bruce Springsteen) were more than generous with sharing what was on their minds as they sat at the control board and created musical history. These experiences were invaluable in informing my intuitive sense when it came to actually producing recordings of my own.
An intuitive side note: We unintentionally released this album exactly 40 years to the day after Sgt. Peppers came out.
“Speech is silver, silence is golden.” – Midrashic Biblical commentaries, 600AD
We thought a good way to end this album would be silence, a time to reflect and let the effects of the healing vibrations permeate into our hearts and souls. So we decided to let there be a stretch of quiet at the end, several minutes in fact. And then Jason Carter brought up the concept of a “hidden track.”
This is when a new song begins after a period of silence. But you can’t get to the extra track by clicking to the next song, it is still part of main song with a gap in between. It is “hidden” and meant to be a surprise when it plays. Although The Beatles and Nirvana, to name a few, used this technique it is not really a popular thing to do. So we asked, “WWMJD?”
Sara had a little phrase she wanted to include in the album but we never found the right spot for it. People still tell me that they've listened to the album dozens of times and are surprised when they finally discover the hidden track. When Sara’s melodic, almost whisper “Oh God, my being is divine” breaks the silence and brings the listener back to home planet the real end of the album is moments away.
I was never able to play this music for Michael Jackson before he was gone. But from the way he was always so supportive and generous I like to think he would have had something nice to say. He was that kind of guy...
TRACKS
1. Ong Namo 11:39
2. Ocean 8:49
3. Mool Mantra 10:21
4. Within You Without You 8:14
LYRICS/CREDITS
Ong Namo
Humbling oneself before the Divine in all - Ong Namo Guru Dev Namo
Guitar, zils – Steve Koc
Vocals – Sara Wiseman
Additional vocals – Kalea Wiseman
Tabla – Mark Powers
Keyboard drones – Jason Carter
Ocean
Bowing before the primal, feminine life force, the peaceful Mother ocean
Adi Shakti, Sarab Shakti, Pritham Bhagawati, Kundalini Mata Shakti, Namo Namo…Om Shanti Om
Guitar, hand percussion & the gong – Steve Koc
Vocals – Sara Wiseman
Didgeridrone - friendly spirits
Mool Mantra
There is only one Creator of all creation…this will always be true
Ek Ong Kar, Sat Nam, Karta Purakh, Nirbhao Nirvair, Akal Moort, Ajooni Saibhang, Gurprasad, Jap, Aad Sach, Jugaad Sach, Hai Bhi Sach, Nanak Hosi Bhi Sach
Guitar, rainstick – Steve Koc
Vocals, piano – Sara Wiseman
Cymbals – Mark Powers
Within You Without You
The Beatles revisited
Guitar– Steve Koc
Vocals – Sara Wiseman
Tabla – Mark Powers
Keyboard drone – Benjy Wertheimer
Tamboura - Michael Stirling
Original music by Steve Koc
Published by Chaka Groove ASCAP ©2007 all rights reserved
“Within You Without You” by George Harrison, SONY/ATV Tunes LLC dba ATV Northern Songs Catalog © 1967 all rights reserved
Recorded, mixed, and mastered by Jason Carter at Wavelength Multimedia Salem, Oregon, www.wavelengthmutlimedia.com
Original album art by Steve Koc ©2007
Martyrs of Sound gives Thanks and Praises: God and Our Families, Jason Carter, John Doan, Mark Powers, Dog Skulls, Tim Knight, Julie Hoy, Layne Young, and Hollee Haas. Extra special thanks to Kaley, Charlie and Emma. We love you!
Beyond the Liner Notes: Uncoiled, the back-stories, lyrics, credits, trivia and more
Uncoiled 2008
The concept behind this album was to get noticed.
Having achieved our lofty goal of creating a sound-therapy tool with our first project, we came up with new goals of becoming famous and went back to work. But seriously, the primary aim of the second CD was to expand our sound palette and make an upbeat, lively, world-music-ish album and also experiment with all the fun tricks we had learned from making Mantra Chill the year before.
And I also had a secret agenda, I wanted to make a record that someone respectable and big in the field of world music, like Peter Gabriel, would hear and say “Hey, nice work, I like that sound!” So, when the Independent Music Awards (the poor man’s Grammys) posted Peter Gabriel as judge for the 2008 awards, I had to say “Hmm? Is this a sign?” And when the nominations came in, and our song “Ananda” was placed in the top five new age songs of the year, and went on to take number the one spot in the popular vote, I took it as a resounding “Yes!”
Ananda- our biggest hit and the song we almost didn’t record
No we didn't misspell Amanda, Ananda means bliss.
Jason Carter, who guided us through the making of our first recordings, had gone on a European tour to drum for Frank Black (The Pixies) so we started this album with Tom Nunes at Skyline Mastering Labs here in Salem. When Jason returned to town we finished up recording the tunes we had but we still had the idea of doing a dance track, something along the lines of the music of Burning Man legends One at Last.
With no idea of where we were heading Jason laid down some awesome beats as a framework for this new track that we were maybe, or maybe not, going to do. As a side note, his drumming was done in one take. In other words, Jason sat down and played away for the full six minutes to lay down the steady beat that supports this tune.
As the music started taking form I wondered if it would fit to use the words from the 16th century Sikh poem/song Anand Sahib written by Amar Das. The first time I heard the classic version of it was in 1976 at the 3HO Ashram in Michigan and it had haunted me ever since.
Ananda is the tale Amar Das’ cosmic trip, his God experience. It starts with a loving cry out to his mother, or the Universal Mother, or maybe both. He encourages us to let our voices and minds resound with vibrations of love, gratitude and praise. As the lyrics continue they paint vivid, enticing pictures of being enveloped in a mysterious, all pervading, and cosmic vibration. Amar Das describes celestial fairies and heavenly musicians sending him in to states of ecstacy. And he humbly credits an unseen, infinite force, the “True Guru” which gracefully moves him from un-awareness to enlightenment. The opening line, “Ananda, Ek Ong Kar, Sat Gurprasad” sets the theme, “Bliss, It’s all God, and it’s all good.”
When I suggested the lyrics to the group everyone liked the idea. Sara cut her vocals, and to the shock of Sara and Jason, since I had been pretty much silent up to that point, I said I wanted to give vocals a try, too.
Frank Black had just finished up in the recording booth that evening and I felt inspired to ride the wave of his energy and see what would happen if I was behind the mic. Up to that point the only thing I knew about his work was a video from their recent tour of Europe where he screamed as Jason wailed on the drum kit. Before that I had thought the Pixies were an Irish band with a waif-like singer, ala Cranberries and Enya. I surfed on Frank’s wake that night as I recited Anand Sahib in the classic, mesmerizing way. I also added, at times, some Yogi Bhajan style chanting (Ek Ong Kar, Sat Gur Prasad…) and some mild “screams” of my own. Frank may find it amusing to know that we almost named this album The Guru Project, which is what he called our music.
What you hear on the finished song is only five percent of the complete Anand Sahib by Guru Amar Das. We covered the intro and first two verses. There are 38 more. One day it would be fun to record it in its entirety.
Govinda: We will mantra-rock you!
Sara asked me to come up with a Hindu Kirtan style tune since we had so much fun chanting with Jai Uttal and Daniel Paul. My favorite of those chants is the old standard Govinda Jaya, Gopala Jaya.There are many great recordings of this mantra, from the traditional ones by Krishna Das and Wah to my favorite, the rocking one by Kula Shaker. We invite you to sing along with our version.
This was a fun song to do with the building choruses of Silver Sørensen and Beth Eck singing such beautiful backup. Speaking of Silver, she is the most incredible studio bass player outside of Pino Paladino. You can throw any tune at her and she’ll lay down the sweetest bass lines, and always in one take.
Now2theNow
Most often I have music I’m working on and Sara is the wordsmith. Our songs come together as a joint process. This is the perfect example. I was goofing around with a rock progression and Sara had the concept of a hip-hop style chant in English, Now to the Now: a catchy phrase, almost meaningless but full of meaning at the same time. This track presented a challenge since we wanted to keep all the song titles to one word each. Thank you Prince for saving the day, once again.
One
In Sanskrit the term Amrit Vela, the ambrosial hours, describes the pre-dawn time when the ethers are clearest and spiritual connection is the highest. We went into the studio at 5:00 a.m. on a Sunday to take advantage of this vibe and experiment with some new ideas. We didn’t know Jason could stay up that late!
TRACKS
1. Ananda 6:05
2. Govinda 5:02
3. Now2theNow 4:32
4. Uncoiled 8:17
5. Amelia (pt.1) 2:53
6. Amelia (pt.2) 4:51
7. Being 4:11
8. Tantra 3:05
9. One 5:43
Tribal beat entwines with sacred mantra and world instrumentation. And as each chakra releases into bliss, we become Uncoiled: a journey to infinite opening through tribal rhythms, sacred chanting, exotic instrumentation and carefully placed electronica. From the funky mantra groove of Ananda to the euro pop vibe of Now2theNow to the dance/trance heartbeat of Uncoiled to the allure of Tantra, each song brings you to a deeper level of opening and Oneness in the Now. In this alternately primal and ethereal soundscape, African drums, Middle Eastern guitar, world percussion, electric guitar and created sound meld with lush and gritty vocals in Sanskrit mantra, Ancient Voice and English. To hear Uncoiled is to be released from root to crown, in the bliss that comes when there is no distinction between I and One.
THE WORDS
Ananda
Ramkali Mehala Teej Anand
Ek Ong Kar Sat GurPrasad.
Ananda bhaia mayri mayeh Sat Guru mai paia.
Sat Gur ta paia sahaj saytee man vajia vadhaia.
Rag ratan parvar paria shabad gavan aia.
Shabado ta gavho Hari kayra man jini vasaia.
Kahai Nanak Ananda hoa Sat Guru mai paia.
Ay man mayria too sada raho Har nalay.
Har nal raho too man mayray dukh sabh visarna.
Angia kar oh karay tera karaj sabh savarna.
Sabhna gala samrath swami so kio manho visaray.
Kahai Nanak man mayray sada raho Har nalay.
Govinda
Govinda Jaya Jaya, Gopala Jaya Jaya
Now2theNow
No moving forward
No going back
A game of present time
Don’t matter where you’re at
Jesus, Muhammad, great Buddha said
Look to the now
Or you mess up your head
Ram Dass, The Bhagwan, Siri Singh Sahib said
Look to the now
Or just go back to bed
Nanak, Amma, Gracie Slick said
Look to the now
It will feed your head
Rumi, Lord Shiva, Yoko Ono said
Look to the now
Stop living like you’re dead
Now to the Now to the Now to the Now to the
Now to the Now to the Now to the Now
Uncoiled
Prana,Apana, Shushmana, Hari
Inhale, Exhale, Kundalini Rising, God
Amelia
Amelia, Oh, what have you done?
You gave us a child;
She grew strong in the sun.
Now you’ve lost all your good sense
You say “we’re all done”
Won’t you come home, Amelia,
My sweet loving one… oh my sweet loving
Amelia, Ah, Where did you go?
The fields they are barren
they covered in snow and
My head and my heart…
Ah… God only knows
Use your good sense, Amelia
And find your way home…ah won’t you find your way
Come back to your good sense, Amelia
Come back to your sweet lovin’ home
Wherever you run to, you find you’re still there
Use your good sense, Amelia
Let me breathe your sweet air…Breathe your sweet air
Amelia, how I wish you’d return
Your sweet lips, your fragrance
I’ll always yearn but
now that you’re gone
My darling, I’ve learned
When it comes to Amelia, I will always get burned…always get burned
Being
Oh God! My being is divine.
One
I only see you
and I only see me.
I and I only see you.
CREDITS
Ananda
Steve Koc (guitar, percussion, vocals), Sara Wiseman (vocals), Jason Carter (drums)
Govinda
Steve Koc (guitar), Sara Wiseman (vocals), Jason Carter (drums, percussion), Silver Sørensen (bass, vocals) Elizabeth Eck (vocals)
Now2theNow
Steve Koc (guitar, vocals), Sara Wiseman (vocals), Jason Carter (drums, glockenspiel), Silver Sørensen (bass)
Uncoiled
Steve Koc (guitar, drums, percussion, vocals), Sara Wiseman (vocals), Tom Nunes (bass), Mark Powers (drums, percussion), Bob Brevoort (didgeridoo), Elizabeth Eck (vocals)
Amelia
Steve Koc (guitar, drums, percussion), Sara Wiseman (vocals), Tom Nunes (bass), Mark Powers (drums, percussion), Elizabeth Eck (vocals)
Being
Steve Koc (guitar, drums, percussion, gong), Sara Wiseman (vocals), Bob Brevoort (flute)
Tantra
Steve Koc (guitar, drums, percussion, gong), Bob Brevoort (flute)
One
Steve Koc (guitar, zils, vocals), Sara Wiseman (vocals), Jason Carter (drones)
Original music by Steve Koc & Sara Wiseman, except Ananda lyrics by Guru Amar Das, circa 1550.
Produced by Steve Koc. Published by Chaka Groove ASCAP 2008. ©
Recorded, mixed, and mastered by Jason Carter, Wavelength Multimedia, wavelengthmm.com.
Additional recording on Uncoiled and Amelia by Tom Nunes, Skyline Mastering Lab.
Graphic design by Leslie Venti
With our deepest gratitude to: God, Jason Carter and our families.
2008 Chaka Groove Records
The concept behind this album was to get noticed.
Having achieved our lofty goal of creating a sound-therapy tool with our first project, we came up with new goals of becoming famous and went back to work. But seriously, the primary aim of the second CD was to expand our sound palette and make an upbeat, lively, world-music-ish album and also experiment with all the fun tricks we had learned from making Mantra Chill the year before.
And I also had a secret agenda, I wanted to make a record that someone respectable and big in the field of world music, like Peter Gabriel, would hear and say “Hey, nice work, I like that sound!” So, when the Independent Music Awards (the poor man’s Grammys) posted Peter Gabriel as judge for the 2008 awards, I had to say “Hmm? Is this a sign?” And when the nominations came in, and our song “Ananda” was placed in the top five new age songs of the year, and went on to take number the one spot in the popular vote, I took it as a resounding “Yes!”
Ananda- our biggest hit and the song we almost didn’t record
No we didn't misspell Amanda, Ananda means bliss.
Jason Carter, who guided us through the making of our first recordings, had gone on a European tour to drum for Frank Black (The Pixies) so we started this album with Tom Nunes at Skyline Mastering Labs here in Salem. When Jason returned to town we finished up recording the tunes we had but we still had the idea of doing a dance track, something along the lines of the music of Burning Man legends One at Last.
With no idea of where we were heading Jason laid down some awesome beats as a framework for this new track that we were maybe, or maybe not, going to do. As a side note, his drumming was done in one take. In other words, Jason sat down and played away for the full six minutes to lay down the steady beat that supports this tune.
As the music started taking form I wondered if it would fit to use the words from the 16th century Sikh poem/song Anand Sahib written by Amar Das. The first time I heard the classic version of it was in 1976 at the 3HO Ashram in Michigan and it had haunted me ever since.
Ananda is the tale Amar Das’ cosmic trip, his God experience. It starts with a loving cry out to his mother, or the Universal Mother, or maybe both. He encourages us to let our voices and minds resound with vibrations of love, gratitude and praise. As the lyrics continue they paint vivid, enticing pictures of being enveloped in a mysterious, all pervading, and cosmic vibration. Amar Das describes celestial fairies and heavenly musicians sending him in to states of ecstacy. And he humbly credits an unseen, infinite force, the “True Guru” which gracefully moves him from un-awareness to enlightenment. The opening line, “Ananda, Ek Ong Kar, Sat Gurprasad” sets the theme, “Bliss, It’s all God, and it’s all good.”
When I suggested the lyrics to the group everyone liked the idea. Sara cut her vocals, and to the shock of Sara and Jason, since I had been pretty much silent up to that point, I said I wanted to give vocals a try, too.
Frank Black had just finished up in the recording booth that evening and I felt inspired to ride the wave of his energy and see what would happen if I was behind the mic. Up to that point the only thing I knew about his work was a video from their recent tour of Europe where he screamed as Jason wailed on the drum kit. Before that I had thought the Pixies were an Irish band with a waif-like singer, ala Cranberries and Enya. I surfed on Frank’s wake that night as I recited Anand Sahib in the classic, mesmerizing way. I also added, at times, some Yogi Bhajan style chanting (Ek Ong Kar, Sat Gur Prasad…) and some mild “screams” of my own. Frank may find it amusing to know that we almost named this album The Guru Project, which is what he called our music.
What you hear on the finished song is only five percent of the complete Anand Sahib by Guru Amar Das. We covered the intro and first two verses. There are 38 more. One day it would be fun to record it in its entirety.
Govinda: We will mantra-rock you!
Sara asked me to come up with a Hindu Kirtan style tune since we had so much fun chanting with Jai Uttal and Daniel Paul. My favorite of those chants is the old standard Govinda Jaya, Gopala Jaya.There are many great recordings of this mantra, from the traditional ones by Krishna Das and Wah to my favorite, the rocking one by Kula Shaker. We invite you to sing along with our version.
This was a fun song to do with the building choruses of Silver Sørensen and Beth Eck singing such beautiful backup. Speaking of Silver, she is the most incredible studio bass player outside of Pino Paladino. You can throw any tune at her and she’ll lay down the sweetest bass lines, and always in one take.
Now2theNow
Most often I have music I’m working on and Sara is the wordsmith. Our songs come together as a joint process. This is the perfect example. I was goofing around with a rock progression and Sara had the concept of a hip-hop style chant in English, Now to the Now: a catchy phrase, almost meaningless but full of meaning at the same time. This track presented a challenge since we wanted to keep all the song titles to one word each. Thank you Prince for saving the day, once again.
One
In Sanskrit the term Amrit Vela, the ambrosial hours, describes the pre-dawn time when the ethers are clearest and spiritual connection is the highest. We went into the studio at 5:00 a.m. on a Sunday to take advantage of this vibe and experiment with some new ideas. We didn’t know Jason could stay up that late!
TRACKS
1. Ananda 6:05
2. Govinda 5:02
3. Now2theNow 4:32
4. Uncoiled 8:17
5. Amelia (pt.1) 2:53
6. Amelia (pt.2) 4:51
7. Being 4:11
8. Tantra 3:05
9. One 5:43
Tribal beat entwines with sacred mantra and world instrumentation. And as each chakra releases into bliss, we become Uncoiled: a journey to infinite opening through tribal rhythms, sacred chanting, exotic instrumentation and carefully placed electronica. From the funky mantra groove of Ananda to the euro pop vibe of Now2theNow to the dance/trance heartbeat of Uncoiled to the allure of Tantra, each song brings you to a deeper level of opening and Oneness in the Now. In this alternately primal and ethereal soundscape, African drums, Middle Eastern guitar, world percussion, electric guitar and created sound meld with lush and gritty vocals in Sanskrit mantra, Ancient Voice and English. To hear Uncoiled is to be released from root to crown, in the bliss that comes when there is no distinction between I and One.
THE WORDS
Ananda
Ramkali Mehala Teej Anand
Ek Ong Kar Sat GurPrasad.
Ananda bhaia mayri mayeh Sat Guru mai paia.
Sat Gur ta paia sahaj saytee man vajia vadhaia.
Rag ratan parvar paria shabad gavan aia.
Shabado ta gavho Hari kayra man jini vasaia.
Kahai Nanak Ananda hoa Sat Guru mai paia.
Ay man mayria too sada raho Har nalay.
Har nal raho too man mayray dukh sabh visarna.
Angia kar oh karay tera karaj sabh savarna.
Sabhna gala samrath swami so kio manho visaray.
Kahai Nanak man mayray sada raho Har nalay.
Govinda
Govinda Jaya Jaya, Gopala Jaya Jaya
Now2theNow
No moving forward
No going back
A game of present time
Don’t matter where you’re at
Jesus, Muhammad, great Buddha said
Look to the now
Or you mess up your head
Ram Dass, The Bhagwan, Siri Singh Sahib said
Look to the now
Or just go back to bed
Nanak, Amma, Gracie Slick said
Look to the now
It will feed your head
Rumi, Lord Shiva, Yoko Ono said
Look to the now
Stop living like you’re dead
Now to the Now to the Now to the Now to the
Now to the Now to the Now to the Now
Uncoiled
Prana,Apana, Shushmana, Hari
Inhale, Exhale, Kundalini Rising, God
Amelia
Amelia, Oh, what have you done?
You gave us a child;
She grew strong in the sun.
Now you’ve lost all your good sense
You say “we’re all done”
Won’t you come home, Amelia,
My sweet loving one… oh my sweet loving
Amelia, Ah, Where did you go?
The fields they are barren
they covered in snow and
My head and my heart…
Ah… God only knows
Use your good sense, Amelia
And find your way home…ah won’t you find your way
Come back to your good sense, Amelia
Come back to your sweet lovin’ home
Wherever you run to, you find you’re still there
Use your good sense, Amelia
Let me breathe your sweet air…Breathe your sweet air
Amelia, how I wish you’d return
Your sweet lips, your fragrance
I’ll always yearn but
now that you’re gone
My darling, I’ve learned
When it comes to Amelia, I will always get burned…always get burned
Being
Oh God! My being is divine.
One
I only see you
and I only see me.
I and I only see you.
CREDITS
Ananda
Steve Koc (guitar, percussion, vocals), Sara Wiseman (vocals), Jason Carter (drums)
Govinda
Steve Koc (guitar), Sara Wiseman (vocals), Jason Carter (drums, percussion), Silver Sørensen (bass, vocals) Elizabeth Eck (vocals)
Now2theNow
Steve Koc (guitar, vocals), Sara Wiseman (vocals), Jason Carter (drums, glockenspiel), Silver Sørensen (bass)
Uncoiled
Steve Koc (guitar, drums, percussion, vocals), Sara Wiseman (vocals), Tom Nunes (bass), Mark Powers (drums, percussion), Bob Brevoort (didgeridoo), Elizabeth Eck (vocals)
Amelia
Steve Koc (guitar, drums, percussion), Sara Wiseman (vocals), Tom Nunes (bass), Mark Powers (drums, percussion), Elizabeth Eck (vocals)
Being
Steve Koc (guitar, drums, percussion, gong), Sara Wiseman (vocals), Bob Brevoort (flute)
Tantra
Steve Koc (guitar, drums, percussion, gong), Bob Brevoort (flute)
One
Steve Koc (guitar, zils, vocals), Sara Wiseman (vocals), Jason Carter (drones)
Original music by Steve Koc & Sara Wiseman, except Ananda lyrics by Guru Amar Das, circa 1550.
Produced by Steve Koc. Published by Chaka Groove ASCAP 2008. ©
Recorded, mixed, and mastered by Jason Carter, Wavelength Multimedia, wavelengthmm.com.
Additional recording on Uncoiled and Amelia by Tom Nunes, Skyline Mastering Lab.
Graphic design by Leslie Venti
With our deepest gratitude to: God, Jason Carter and our families.
2008 Chaka Groove Records
Beyond the Liner Notes: Songs for Loving & Dying, the back-stories, lyrics, credits, trivia and more
Songs for Loving & Dying 2009
The concept behind this album was to have fun making pop/rock songs, like we hear on the radio, but with a spiritual twist.
Having heard rumors that no radio station would play new age songs we decided to try our hand at writing catchy pop tunes that would be suitable for airplay. A nice long vacation on Whidbey Island gave us time to hang out like rock stars and indulge ourselves. We stayed up late, slept in, stayed up later, slept in later and eventually became oblivious to what is referred to as the real world and lived in a bubble of creativity, cranking out hit after hit. Well, I really should say song after song, because the hit single from this album turned out to be the one song we didn’t write ourselves. Our cover (remake) of Dear Prudence, a sweet song written by some band from the 60s, was the track that got us on the radio!
We are very grateful to Portland’s KINK 101.9 FM for playing our music and also putting us on their compilation CD, Locals Only 2009.
We used to play a very slow, acoustic adaptation of Dear Prudence at our gigs. One night while rehearsing for a show I starting goofing around, doing a ska-styling bit on the guitar and Jason kicked up the drums in a funky way. Sara belted out the vocals and thus was born our semi-hyper, fun version of Prudence that went on to win the best of local music contest with KINK FM.
We had a blast writing the other tunes on the album and would like to get back in studio and record a few more original pop songs that we have in the waiting.
Track Listings
1 New Soul 3:43
2 Be my Rumi 4:06
3 Saint Joan 3:53
4 Dear Prudence 3:39
5 The Girl was Dancing 3:22
6 Baby it’s You 2:42
7 Mary Twilight 5:08
8 Fragile 4:00
9 Angels 3:40
10 I am 5:05
Songs for Loving & Dying is the third release from Martyrs of Sound. Once again broadening their soundscape, they now add a spiritual twist to catchy, smooth pop/rock. Fresh lyrics and their own musical color fill this album which they describe as Tantric Pop. From uplifting love and endless longing, to up and down ongoing rhythm, dark simplicity and on to heart felt sweetness, these songs touch the deep core of passion felt by those who live the spiritual path of loving and dying. Martyrs of Sound offer this body of work as a musical act of devotion with the intent of raising the vibration. May all beings be happy!
CREDITS
Sara Wiseman - vocals
Steve Koc - guitar, percussion, keyboard
Silver Sørensen - bass
Jason Carter - drums, percussion, bass, keyboard
Charlie Wiseman – vocals
Tom Nunes – fretless bass
Original music by Steve Koc & Sara Wiseman
Dear Prudence by Lennon/McCartney © 1968 all rights reserved
Saint Joan inspired by the poem “Saint Joan of Arc” by Gary Weber
Published by Chaka Groove ASCAP © 2009
© 2009 Chaka Groove Records, P.O. Box 35, Independence, OR 97351 USA.
Recorded, mixed, and mastered by Jason Carter, Wavelength Multimedia, wavelengthmm.com.
© 2009 Chaka Groove Records
All rights reserved
New Soul
I been looking for some law of attraction
I been waiting for some deep fascination
I been hoping for some full integration
I been waiting on you
I been thinking of some days that get better
I been hoping for money that stays green
I been thinking of man who can kiss good
I been waiting on you
Shine on by don’t you know I’m a new soul?
Slide on by don’t you know I get lonely?
Shine on by don’t you know that I’m new here?
Take it slow don’t you know I’m your only…one?
How come it takes you so long to get here?
I been searching for over a light year
It’s not the heat it’s the humility
Of me waiting for you
Baby please I can’t make it much longer
The days are short, the nights they are stronger
It’s not the grind it’s the anticipation
Of me waiting for you
Be My Rumi
I knew you when I met you
Quite different from the start
speak God and sex with one voice
No difference in the three.
My door it is wide open
Ancient path to bliss
Take love and faith with one breath
No difference in a kiss
I want you to be my Rumi
I want you to see right thru me
Won’t you take it all and bring it to me
I want you to be my Rumi
There’s no shame in pretending
That I’m the one you need
Hold all your lies in one hand
Cut me and I bleed
Be My Beloved
Mmm, mmm, mmm
I want you to, I want you to
Saint Joan Oh Saint Joan of Arc we hear your voice and
Oh Saint Joan of Arc we hear your call
Oh Saint Joan of Arc we hear your words
Oh Saint Joan of Arc the drums will roll
These are the voices calling
Gentle Joan of Arc and
These are the voices crying
Leaf beneath stone
Echo of chime on the wind
We see the fires burning now
Sweet Joan
Oh Saint Joan we you still lead us?
Do not think these voices carry for all these years,
unheard, unheard, unknown,
Do not think these voices vanish in the mist,
unheard, unheard Saint. Joan.
We are the voices calling, oh Saint Joan
We ask you to lead us, oh Saint Joan
The fires they are burning oh sweet Joan
The fires they are calling you, sweet Joan
The fires they are burning, oh sweet Joan
Please won’t you lead us now? Oh Saint Joan
We still are calling you, oh Saint Joan
This voice remains
Your voice remains
Dear Prudence
Dear Prudence, won't you come out to play
Dear Prudence, greet the brand new day
The sun is up, the sky is blue
It's beautiful and so are you
Dear Prudence won't you come out to play
Dear Prudence open up your eyes
Dear Prudence see the sunny skies
The wind is low the birds will sing
That you are part of everything
Dear Prudence won't you open up your eyes?
Look around
Dear Prudence let me see you smile
Dear Prudence like a little child
The clouds will be a daisy chain
So let me see you smile again
Dear Prudence won't you let me see you smile?
The Girl was Dancing
The Girl was Dancing, dancing by herself
The Girl was Dancing, twirling right off the shelf
The Girl was Dancing, dancing by herself
The Girl was Dancing, spinning right off the shelf
Oh, let yourself go
She seeks what is already there
Baby it’s You
Dip your hand behind the moon
And let me see your face
Sink your hand behind the sky
I want to know your grace
I have seen a thousand moons and
I have searched the skies
What I know and what I seek is
Right here in your eyes
Baby, it’s you, we’re here at last
Night surrounds us, Mist falls around us
Let the darkness be embraced
Trail your fingers through the sun
Gold sinks in deep
Trail your fingers through my hair and
Press it to your check
Somewhere the sun is shining
on the other side of the world
Here we are in this time, baby
I want to be your girl
Mary Twilight
Mary Twilight softly sighing
All these hours from dusk till dawn and
Mary Twilight be your lover
Hold her close the whole night long and
Mary Twilight soft as shadow
Oh my darling, won’t you stay?
Lay right down, I will be beside you
Close your eyes, I will be right here
In the shadows by the bed stand
Hold her close, you wish she’d stay but
All is darkness, all is endless,
All is soft and shattered night.
Mary Twilight, call her baby,
Hold her close for one last night
(Mary Twilight, Never knew her,
Child of dusk, child of flight
Mary Twilight, Dusky lover,
Want to hold her all the night
Mary Twilight, softly sighing
Hold her loose, she’s yours to stay)
Fragile
Pick my heart up off the floor
I’m as fragile as a bird
How will I know if this is love?
How will I know?
Tell me something I haven’t heard
Sweep my heart up off the floor
Nothing’s easy any more
Won’t you catch me as I fall?
Won’t you catch me?
Will you love me like before?
Oh baby…oh baby
Same old song again
Coming ‘round again
Keep my heart here on the floor
I am fragile as before
Can you tell me this is love?
Can you tell me?
Won’t be coming here no more
Angels
Angels are gathering round me, Rocking around me, rolling around me
Angels are gathering round me, Flipping around me, tripping around me
Angels are gathering round me, Pressing around me, crowding around me
Angels are gathering round me, Hobbling around me, cobbling around me
I Am
They lift their wings pale as the moon
They wrap their wings soft as the sky
And they say…
Hush, hush my child (and they say)
We’re coming to take you home, coming to take you
I am
Tell me, what can I say
when I’m lying in bed
at the end of the day?
Tell me, what can I do
Each time I remember how I forget you?
I am a drop in the sea
Watching and wondering just who will I be
Floating ‘round infinite space
And I thank you for showing me
This endless place
I am
Tell me, what can I do
when I’m down on my knees
and I’m praying to you?
I am infinite space
And I thank you for showing me
Your endless grace
I am…Wahe
© 2007 Chaka Groove Records/ Chaka Groove Publishing
The concept behind this album was to have fun making pop/rock songs, like we hear on the radio, but with a spiritual twist.
Having heard rumors that no radio station would play new age songs we decided to try our hand at writing catchy pop tunes that would be suitable for airplay. A nice long vacation on Whidbey Island gave us time to hang out like rock stars and indulge ourselves. We stayed up late, slept in, stayed up later, slept in later and eventually became oblivious to what is referred to as the real world and lived in a bubble of creativity, cranking out hit after hit. Well, I really should say song after song, because the hit single from this album turned out to be the one song we didn’t write ourselves. Our cover (remake) of Dear Prudence, a sweet song written by some band from the 60s, was the track that got us on the radio!
We are very grateful to Portland’s KINK 101.9 FM for playing our music and also putting us on their compilation CD, Locals Only 2009.
We used to play a very slow, acoustic adaptation of Dear Prudence at our gigs. One night while rehearsing for a show I starting goofing around, doing a ska-styling bit on the guitar and Jason kicked up the drums in a funky way. Sara belted out the vocals and thus was born our semi-hyper, fun version of Prudence that went on to win the best of local music contest with KINK FM.
We had a blast writing the other tunes on the album and would like to get back in studio and record a few more original pop songs that we have in the waiting.
Track Listings
1 New Soul 3:43
2 Be my Rumi 4:06
3 Saint Joan 3:53
4 Dear Prudence 3:39
5 The Girl was Dancing 3:22
6 Baby it’s You 2:42
7 Mary Twilight 5:08
8 Fragile 4:00
9 Angels 3:40
10 I am 5:05
Songs for Loving & Dying is the third release from Martyrs of Sound. Once again broadening their soundscape, they now add a spiritual twist to catchy, smooth pop/rock. Fresh lyrics and their own musical color fill this album which they describe as Tantric Pop. From uplifting love and endless longing, to up and down ongoing rhythm, dark simplicity and on to heart felt sweetness, these songs touch the deep core of passion felt by those who live the spiritual path of loving and dying. Martyrs of Sound offer this body of work as a musical act of devotion with the intent of raising the vibration. May all beings be happy!
CREDITS
Sara Wiseman - vocals
Steve Koc - guitar, percussion, keyboard
Silver Sørensen - bass
Jason Carter - drums, percussion, bass, keyboard
Charlie Wiseman – vocals
Tom Nunes – fretless bass
Original music by Steve Koc & Sara Wiseman
Dear Prudence by Lennon/McCartney © 1968 all rights reserved
Saint Joan inspired by the poem “Saint Joan of Arc” by Gary Weber
Published by Chaka Groove ASCAP © 2009
© 2009 Chaka Groove Records, P.O. Box 35, Independence, OR 97351 USA.
Recorded, mixed, and mastered by Jason Carter, Wavelength Multimedia, wavelengthmm.com.
© 2009 Chaka Groove Records
All rights reserved
New Soul
I been looking for some law of attraction
I been waiting for some deep fascination
I been hoping for some full integration
I been waiting on you
I been thinking of some days that get better
I been hoping for money that stays green
I been thinking of man who can kiss good
I been waiting on you
Shine on by don’t you know I’m a new soul?
Slide on by don’t you know I get lonely?
Shine on by don’t you know that I’m new here?
Take it slow don’t you know I’m your only…one?
How come it takes you so long to get here?
I been searching for over a light year
It’s not the heat it’s the humility
Of me waiting for you
Baby please I can’t make it much longer
The days are short, the nights they are stronger
It’s not the grind it’s the anticipation
Of me waiting for you
Be My Rumi
I knew you when I met you
Quite different from the start
speak God and sex with one voice
No difference in the three.
My door it is wide open
Ancient path to bliss
Take love and faith with one breath
No difference in a kiss
I want you to be my Rumi
I want you to see right thru me
Won’t you take it all and bring it to me
I want you to be my Rumi
There’s no shame in pretending
That I’m the one you need
Hold all your lies in one hand
Cut me and I bleed
Be My Beloved
Mmm, mmm, mmm
I want you to, I want you to
Saint Joan Oh Saint Joan of Arc we hear your voice and
Oh Saint Joan of Arc we hear your call
Oh Saint Joan of Arc we hear your words
Oh Saint Joan of Arc the drums will roll
These are the voices calling
Gentle Joan of Arc and
These are the voices crying
Leaf beneath stone
Echo of chime on the wind
We see the fires burning now
Sweet Joan
Oh Saint Joan we you still lead us?
Do not think these voices carry for all these years,
unheard, unheard, unknown,
Do not think these voices vanish in the mist,
unheard, unheard Saint. Joan.
We are the voices calling, oh Saint Joan
We ask you to lead us, oh Saint Joan
The fires they are burning oh sweet Joan
The fires they are calling you, sweet Joan
The fires they are burning, oh sweet Joan
Please won’t you lead us now? Oh Saint Joan
We still are calling you, oh Saint Joan
This voice remains
Your voice remains
Dear Prudence
Dear Prudence, won't you come out to play
Dear Prudence, greet the brand new day
The sun is up, the sky is blue
It's beautiful and so are you
Dear Prudence won't you come out to play
Dear Prudence open up your eyes
Dear Prudence see the sunny skies
The wind is low the birds will sing
That you are part of everything
Dear Prudence won't you open up your eyes?
Look around
Dear Prudence let me see you smile
Dear Prudence like a little child
The clouds will be a daisy chain
So let me see you smile again
Dear Prudence won't you let me see you smile?
The Girl was Dancing
The Girl was Dancing, dancing by herself
The Girl was Dancing, twirling right off the shelf
The Girl was Dancing, dancing by herself
The Girl was Dancing, spinning right off the shelf
Oh, let yourself go
She seeks what is already there
Baby it’s You
Dip your hand behind the moon
And let me see your face
Sink your hand behind the sky
I want to know your grace
I have seen a thousand moons and
I have searched the skies
What I know and what I seek is
Right here in your eyes
Baby, it’s you, we’re here at last
Night surrounds us, Mist falls around us
Let the darkness be embraced
Trail your fingers through the sun
Gold sinks in deep
Trail your fingers through my hair and
Press it to your check
Somewhere the sun is shining
on the other side of the world
Here we are in this time, baby
I want to be your girl
Mary Twilight
Mary Twilight softly sighing
All these hours from dusk till dawn and
Mary Twilight be your lover
Hold her close the whole night long and
Mary Twilight soft as shadow
Oh my darling, won’t you stay?
Lay right down, I will be beside you
Close your eyes, I will be right here
In the shadows by the bed stand
Hold her close, you wish she’d stay but
All is darkness, all is endless,
All is soft and shattered night.
Mary Twilight, call her baby,
Hold her close for one last night
(Mary Twilight, Never knew her,
Child of dusk, child of flight
Mary Twilight, Dusky lover,
Want to hold her all the night
Mary Twilight, softly sighing
Hold her loose, she’s yours to stay)
Fragile
Pick my heart up off the floor
I’m as fragile as a bird
How will I know if this is love?
How will I know?
Tell me something I haven’t heard
Sweep my heart up off the floor
Nothing’s easy any more
Won’t you catch me as I fall?
Won’t you catch me?
Will you love me like before?
Oh baby…oh baby
Same old song again
Coming ‘round again
Keep my heart here on the floor
I am fragile as before
Can you tell me this is love?
Can you tell me?
Won’t be coming here no more
Angels
Angels are gathering round me, Rocking around me, rolling around me
Angels are gathering round me, Flipping around me, tripping around me
Angels are gathering round me, Pressing around me, crowding around me
Angels are gathering round me, Hobbling around me, cobbling around me
I Am
They lift their wings pale as the moon
They wrap their wings soft as the sky
And they say…
Hush, hush my child (and they say)
We’re coming to take you home, coming to take you
I am
Tell me, what can I say
when I’m lying in bed
at the end of the day?
Tell me, what can I do
Each time I remember how I forget you?
I am a drop in the sea
Watching and wondering just who will I be
Floating ‘round infinite space
And I thank you for showing me
This endless place
I am
Tell me, what can I do
when I’m down on my knees
and I’m praying to you?
I am infinite space
And I thank you for showing me
Your endless grace
I am…Wahe
© 2007 Chaka Groove Records/ Chaka Groove Publishing
Beyond the Liner Notes: Radhe's Dream, the back-stories, lyrics, credits, trivia and more
more notes coming soon!
here are some recent
reviews:
1. Playlist: Music reviews by Bill Binkelman
The duo Martyrs of Sound (Dr. Steve Koc and Sara Wiseman) have outdone themselves on Radhe's Dream, a perfect blending of an ambient music aesthetic with the soothing qualities of superb New Age as well as some great chanting selections, too. Koc handles the guitar with uncommon dexterity and nuance (adding excellent piano and keyboards as well) while Wiseman's heavenly vocals adorn the chant tracks. With help from others on bass and melodica, Koc weaves a hypnotic spell of sparse yet warm repeating patterns of notes on both piano and guitar (with textural embellishments) while Wiseman's flowing mantras (delightfully multi-tracked) are like a gentle siren song guiding you to peace.
2. Simon, Higherplainmusic.com
Martyrs of Sound specialize in meditative music. Clean, simple, warm and full of the essence of music, Radhe's Dream is simply a heavenly joy to close your eyes to. Opening with "Song of the Universe" the music is dominated by the warmth of a slowly plucked 12 String Guitar with minimal keyboard swirls in the background and the occasional other acoustic instrument echoing in the background. Seamlessly flowing into "Soul's Awakening" which adds in piano to the original track and slowly some soft vocal hums and some lovely rain stick work too. "Soul's Emergence" continues to grow on the four chords that have been gradually weaved upon with some tuned percussion and some stereo electronica work before "Song of the Beloved" adds in some wonderful electric-acoustic guitar work over the top. The whole album carries a certain cyclic feel throughout and is absolutely hypnotic even by track four. Even though it is effectively a four chord repetition and doesn't feel like it.
"Radhe's Dream" starts a new phase of the album where the same chords are kept but not with the same pitch as the guitar softens and is taken up an octave before "Radhe's Dream" itself kicks in and finally we have our first vocal lead with soft harmonized and doubled up vocal patterns. It's about as close to a single as you can get on the album and is easy to enter into as a standalone track although the album works best played as a whole entity. The guitar work throughout is beautiful.
"Govinda's Dream" enters a third phase of the cycle as we enter a shimmering sparkling world and the four-chord pattern becomes a single droning Raj. Guitar free flows over the top while an electric percussive beat pans beautifully from ear to ear. "Om Shanti" takes things further with a more complex arrangement merging the Asian with the blues. It's the blues that wins out in time for "Soul's Tantra" which starts to repeat a riff that has been present over the last few tracks but in a more subtle way while the vocals take more prominence here and in "Song of Jai".
By this point you should be utterly relaxed as the Raj gives way to "Soul Awakening Reprise" which soon returns to the beautiful four chord structure and "Radhe's Dream Reprise" shows that actually, the Raj and four chord structures were together all along and we just hadn't felt them both in our presence at the same time. As if then being pulled out of the circle and being cleansed "Beautiful" then appears to close the album with all the elements that we've had throughout the album brought together...
...in one beautifully heart-wrenching and ethereal track.
Martyrs of Sound have achieved a wonderful album. This is ultimate relaxation music. Enhanced with a warm bath, candles, maybe even drifting off with a loved one - I whole heartedly recommend this to anyone into acoustic relaxation music with heart and substance - not the tepid and soulless meditation music that's all about a single phasing keyboard note. This takes you literally to a Higher Plain of Music."
3. "Nice work! Really polished production." Christopher Tin, multi-Grammy winning composer
4. "Thank you so much for your amazing album! I use it in my healing sessions, I use it when I go get a massage, I use it when friends come over to relax AND I use it when I get ready for bed to take me to dreamland! ' ' ' Thank you for this gift! I LOVE IT! It's exactly what I was wishing for in a new album!" Kimmie Fleck, Nashville recording artist
5. Arun Shenoy Music Publishing - Singapore
Quite an incredible record. I found the engineering quite brilliant. For the large part the record is dominated by the mellow guitars, interspersed with ambient fx, beats and the occasional piano. The tracks flow from one to the next to make the entire album sound like one song - something I always love - One story. The whole feel is captured very beautifully.
Where the record really caught my attention was from track 6 onwards, and I noticed later that this is the title track. The whole vocal layers of "Radhe Govinda, Radhe Gopala" and the subsequent parts like "Om Shanti Om", "Jai Gurudeva", "Om Nama Shivaya". From the diction I can note that these are not Indian voices, but more American/Western voices, but the parts are captured very beautifully. The harmonies are beautiful and very peaceful. I love the way the record ended with "Beautiful" cause suddenly unexpectedly you have a song sung in English. Yet, it just flows with the rest of the record. I kept looping the last track for a long time. Leaves the listener with a nice aftertaste there. Very good song ordering on your part here.
6. La fórmula perfecta para conectar cuerpo y mente
author: REVIEWS NEW AGE
El cuarto trabajo del dúo formado por Steve Koc y Sara Wiseman es un punto de inflexión sorprendente en comparación con su primer trabajo. Más melódico que nunca y empleando dulces sintetizadores, relajadas guitarras, teclados y voces, Martyrs of Sound nos presentan Radhe's Dream, un CD que persigue el mismo objetivo que sus álbumes anteriores, pero navegando en un estilo diferente, menos enraizado a las melodías y cánticos tradiciones del yoga y que consigue el mismo objetivo con sus melodías enlazadas.
"Song of the Universe" es el comienzo del álbum, donde unos sonidos sintetizados y una guitarra ácustica esgrimen una melodía tranquilizadora, diría que hipnotizadora. Una fuerte y sana droga que aplaca al corazón más perturbado.
Manteniendo la misma intensidad y la misma melodía, sin alteraciones, aparece "Soul's Awakening". En esta pieza se suman algunos instrumentos más que nos acompañaran en prácticamente todo el álbum. El piano que se alterna con la guitarra y nuevos sonidos electrónicos.
Sonidos ambientales se suman a la apacible melodía que nació desde un principio en "Soul's Emergence". Hundiendo más en el placer del descanso al oyente, descubrimos el sonido del mar, cuencos y una sutil y delicada percusión.
Una grata sorpresa en "Song of the Beloved". Sin variar ni un ápice la melodía, surge como instrumento predominante la guitarra eléctrica, pero con su toque más inofensivo, limpio, y seducido por el tempo sereno de la música.
Un cambio notable en "Radhe's Dream: Interlude". Después de cuatro tracks que son realmente uno, aparece esta pieza con una melodía completamente nueva, donde sólo se aprecian dos guitarras y un sintetizador. Guitarra acústica como acompañamiento y melodía principal y el sonido eléctrico de otra guitarra con un estilo muy folk, mientras, el fondo de una synth pad que dibuja una música relajada. Me gusta!.
El cenit de la pista anterior es "Radhe's Dream", la composición que da título al álbum y la mejor de todas. Siguiendo con los mismos acordes que el tema anterior, se le suman la voz de Sara y una guitarra acústica más contundente, algo que le da mucha fuerza al tema, pero sin romper la serenidad creada hasta el momento. Emocionante!.
Otro cambio inesperado con "Govinda's Dream". Por primera vez nos sorprende una percusión étnica y campanillas que marcan un seductor ritmo, mientras synth pad, voces reproduciendo la palabra "Shanti" y una guitarra hechizan al oyente, lo relajan, lo cautivan.
"Govinda's Dream" se une a "Om Shanti", donde la voz de Wiseman cobra protagonismo por encima de todos los instrumentos. Más cercano a los tracks que podemos encontrar en su primer trabajo, "Om Shanti" se hace perfecta para la práctica de ejercicios mentales y de relajación. La voz de Sara es seductora, agradable.
Otro instrumento se añade a "Om Shanti", el bajo, y por ello se da otro el título a la pieza, "Soul's Tantra". Entonando "Om Namaha Shiva" y otros cánticos del Kundalini Yoga, el oyente sigue inmerso en un contexto perfecto para la meditación y la sanación.
"Song of Jai" mantiene el mismo carácter que las dos últimas composiciones. Sara Wiseman dobla su voz e intensifica el poder de esta con una fuerza y dulzura fascinante. La pieza es un narcótico muy poderoso.
Las dos siguientes piezas son reprises de los tracks 2 y 6, donde se varían las melodías muy ligeramente sin alterar la belleza y el sosiego de las mismas, realmente son de las mejores del álbum.
La pieza que rubrica el final de Radhe's Dream es "Beautiful". Esta última pieza forma un bucle continuo del CD, ya que se une a la primera pieza del álbum. Este inteligente final, junto a la continua unión de las piezas hace que el álbum sea perfecto para el descanso, la meditación o la relajación. En "Beautiful" Sara y Koc nos vuelven a sorprender; en esta ocasión es una hermosísima canción, donde una armónica y la emocionante voz de Sara dejan al oyente boquiabierto. Un final inesperado y de un sentimiento inefable. Fantástico!!.
La historia de R'dh' queda plasmada en el último trabajo de la banda Martyrs of Sound. Radhe's Dream es un álbum creado con un objetivo muy claro y para llegar a este fin, el dúo ha pensado hasta en el último detalle. Con inteligencia y maestría, Steve Koc y Sara Wiseman nos ofrecen minutos de muy buena música, relajante, perfecta para la práctica de yoga y la fórmula perfecta para conectar cuerpo y mente. Radhe's Dream es un álbum recomendable.
here are some recent
reviews:
1. Playlist: Music reviews by Bill Binkelman
The duo Martyrs of Sound (Dr. Steve Koc and Sara Wiseman) have outdone themselves on Radhe's Dream, a perfect blending of an ambient music aesthetic with the soothing qualities of superb New Age as well as some great chanting selections, too. Koc handles the guitar with uncommon dexterity and nuance (adding excellent piano and keyboards as well) while Wiseman's heavenly vocals adorn the chant tracks. With help from others on bass and melodica, Koc weaves a hypnotic spell of sparse yet warm repeating patterns of notes on both piano and guitar (with textural embellishments) while Wiseman's flowing mantras (delightfully multi-tracked) are like a gentle siren song guiding you to peace.
2. Simon, Higherplainmusic.com
Martyrs of Sound specialize in meditative music. Clean, simple, warm and full of the essence of music, Radhe's Dream is simply a heavenly joy to close your eyes to. Opening with "Song of the Universe" the music is dominated by the warmth of a slowly plucked 12 String Guitar with minimal keyboard swirls in the background and the occasional other acoustic instrument echoing in the background. Seamlessly flowing into "Soul's Awakening" which adds in piano to the original track and slowly some soft vocal hums and some lovely rain stick work too. "Soul's Emergence" continues to grow on the four chords that have been gradually weaved upon with some tuned percussion and some stereo electronica work before "Song of the Beloved" adds in some wonderful electric-acoustic guitar work over the top. The whole album carries a certain cyclic feel throughout and is absolutely hypnotic even by track four. Even though it is effectively a four chord repetition and doesn't feel like it.
"Radhe's Dream" starts a new phase of the album where the same chords are kept but not with the same pitch as the guitar softens and is taken up an octave before "Radhe's Dream" itself kicks in and finally we have our first vocal lead with soft harmonized and doubled up vocal patterns. It's about as close to a single as you can get on the album and is easy to enter into as a standalone track although the album works best played as a whole entity. The guitar work throughout is beautiful.
"Govinda's Dream" enters a third phase of the cycle as we enter a shimmering sparkling world and the four-chord pattern becomes a single droning Raj. Guitar free flows over the top while an electric percussive beat pans beautifully from ear to ear. "Om Shanti" takes things further with a more complex arrangement merging the Asian with the blues. It's the blues that wins out in time for "Soul's Tantra" which starts to repeat a riff that has been present over the last few tracks but in a more subtle way while the vocals take more prominence here and in "Song of Jai".
By this point you should be utterly relaxed as the Raj gives way to "Soul Awakening Reprise" which soon returns to the beautiful four chord structure and "Radhe's Dream Reprise" shows that actually, the Raj and four chord structures were together all along and we just hadn't felt them both in our presence at the same time. As if then being pulled out of the circle and being cleansed "Beautiful" then appears to close the album with all the elements that we've had throughout the album brought together...
...in one beautifully heart-wrenching and ethereal track.
Martyrs of Sound have achieved a wonderful album. This is ultimate relaxation music. Enhanced with a warm bath, candles, maybe even drifting off with a loved one - I whole heartedly recommend this to anyone into acoustic relaxation music with heart and substance - not the tepid and soulless meditation music that's all about a single phasing keyboard note. This takes you literally to a Higher Plain of Music."
3. "Nice work! Really polished production." Christopher Tin, multi-Grammy winning composer
4. "Thank you so much for your amazing album! I use it in my healing sessions, I use it when I go get a massage, I use it when friends come over to relax AND I use it when I get ready for bed to take me to dreamland! ' ' ' Thank you for this gift! I LOVE IT! It's exactly what I was wishing for in a new album!" Kimmie Fleck, Nashville recording artist
5. Arun Shenoy Music Publishing - Singapore
Quite an incredible record. I found the engineering quite brilliant. For the large part the record is dominated by the mellow guitars, interspersed with ambient fx, beats and the occasional piano. The tracks flow from one to the next to make the entire album sound like one song - something I always love - One story. The whole feel is captured very beautifully.
Where the record really caught my attention was from track 6 onwards, and I noticed later that this is the title track. The whole vocal layers of "Radhe Govinda, Radhe Gopala" and the subsequent parts like "Om Shanti Om", "Jai Gurudeva", "Om Nama Shivaya". From the diction I can note that these are not Indian voices, but more American/Western voices, but the parts are captured very beautifully. The harmonies are beautiful and very peaceful. I love the way the record ended with "Beautiful" cause suddenly unexpectedly you have a song sung in English. Yet, it just flows with the rest of the record. I kept looping the last track for a long time. Leaves the listener with a nice aftertaste there. Very good song ordering on your part here.
6. La fórmula perfecta para conectar cuerpo y mente
author: REVIEWS NEW AGE
El cuarto trabajo del dúo formado por Steve Koc y Sara Wiseman es un punto de inflexión sorprendente en comparación con su primer trabajo. Más melódico que nunca y empleando dulces sintetizadores, relajadas guitarras, teclados y voces, Martyrs of Sound nos presentan Radhe's Dream, un CD que persigue el mismo objetivo que sus álbumes anteriores, pero navegando en un estilo diferente, menos enraizado a las melodías y cánticos tradiciones del yoga y que consigue el mismo objetivo con sus melodías enlazadas.
"Song of the Universe" es el comienzo del álbum, donde unos sonidos sintetizados y una guitarra ácustica esgrimen una melodía tranquilizadora, diría que hipnotizadora. Una fuerte y sana droga que aplaca al corazón más perturbado.
Manteniendo la misma intensidad y la misma melodía, sin alteraciones, aparece "Soul's Awakening". En esta pieza se suman algunos instrumentos más que nos acompañaran en prácticamente todo el álbum. El piano que se alterna con la guitarra y nuevos sonidos electrónicos.
Sonidos ambientales se suman a la apacible melodía que nació desde un principio en "Soul's Emergence". Hundiendo más en el placer del descanso al oyente, descubrimos el sonido del mar, cuencos y una sutil y delicada percusión.
Una grata sorpresa en "Song of the Beloved". Sin variar ni un ápice la melodía, surge como instrumento predominante la guitarra eléctrica, pero con su toque más inofensivo, limpio, y seducido por el tempo sereno de la música.
Un cambio notable en "Radhe's Dream: Interlude". Después de cuatro tracks que son realmente uno, aparece esta pieza con una melodía completamente nueva, donde sólo se aprecian dos guitarras y un sintetizador. Guitarra acústica como acompañamiento y melodía principal y el sonido eléctrico de otra guitarra con un estilo muy folk, mientras, el fondo de una synth pad que dibuja una música relajada. Me gusta!.
El cenit de la pista anterior es "Radhe's Dream", la composición que da título al álbum y la mejor de todas. Siguiendo con los mismos acordes que el tema anterior, se le suman la voz de Sara y una guitarra acústica más contundente, algo que le da mucha fuerza al tema, pero sin romper la serenidad creada hasta el momento. Emocionante!.
Otro cambio inesperado con "Govinda's Dream". Por primera vez nos sorprende una percusión étnica y campanillas que marcan un seductor ritmo, mientras synth pad, voces reproduciendo la palabra "Shanti" y una guitarra hechizan al oyente, lo relajan, lo cautivan.
"Govinda's Dream" se une a "Om Shanti", donde la voz de Wiseman cobra protagonismo por encima de todos los instrumentos. Más cercano a los tracks que podemos encontrar en su primer trabajo, "Om Shanti" se hace perfecta para la práctica de ejercicios mentales y de relajación. La voz de Sara es seductora, agradable.
Otro instrumento se añade a "Om Shanti", el bajo, y por ello se da otro el título a la pieza, "Soul's Tantra". Entonando "Om Namaha Shiva" y otros cánticos del Kundalini Yoga, el oyente sigue inmerso en un contexto perfecto para la meditación y la sanación.
"Song of Jai" mantiene el mismo carácter que las dos últimas composiciones. Sara Wiseman dobla su voz e intensifica el poder de esta con una fuerza y dulzura fascinante. La pieza es un narcótico muy poderoso.
Las dos siguientes piezas son reprises de los tracks 2 y 6, donde se varían las melodías muy ligeramente sin alterar la belleza y el sosiego de las mismas, realmente son de las mejores del álbum.
La pieza que rubrica el final de Radhe's Dream es "Beautiful". Esta última pieza forma un bucle continuo del CD, ya que se une a la primera pieza del álbum. Este inteligente final, junto a la continua unión de las piezas hace que el álbum sea perfecto para el descanso, la meditación o la relajación. En "Beautiful" Sara y Koc nos vuelven a sorprender; en esta ocasión es una hermosísima canción, donde una armónica y la emocionante voz de Sara dejan al oyente boquiabierto. Un final inesperado y de un sentimiento inefable. Fantástico!!.
La historia de R'dh' queda plasmada en el último trabajo de la banda Martyrs of Sound. Radhe's Dream es un álbum creado con un objetivo muy claro y para llegar a este fin, el dúo ha pensado hasta en el último detalle. Con inteligencia y maestría, Steve Koc y Sara Wiseman nos ofrecen minutos de muy buena música, relajante, perfecta para la práctica de yoga y la fórmula perfecta para conectar cuerpo y mente. Radhe's Dream es un álbum recomendable.