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It's inspired by change, grief, acceptance, forgiveness, love, and running. Dawson began running around the same time he started making records. At this point it's unclear where one practice ends and the other begins. The album's title has become the ethos he's embraced for all things in life.  Long Slow Dance unravels the woven collage of his previous work. Here each song consists of three long guitar takes, panned across the stereo-field with minimal overdubs. \"\"I remember my grandmother always kept a rain barrel on the farm. Just a simple vessel that served as a means for gathering water for the garden and the flowers. I wanted to instill that sentiment on this record. Other than some panning and recreational EQing, the computer was just a vessel to gather sounds.\"\" There is a distant grace to the album. A soft expanse, a quiet contrast. Guitars dissolve and then recalibrate. Sparse melodic motifs bloom and fracture. Warm chords clash and make amends. 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The album takes it's name from a small village in northern Germany where Vanoli stayed on writing retreats between 2018 and 2023. The forest, and long stretches of being alone in it, shaped how the music moves. Ventschau is an ode to that love of the forest - poetic and personal, with more room than before for melody, harmony, and song-like shapes. Mantra-like figures recur; on several pieces Vanoli sings softly into the strings, so breath, voice, and resonance carry as a single sound. At the core of the record are the \"\"blowing\"\" techniques Vanoli has been developing for years - sounds drawn from breath against the strings of a hyper amplified electric guitar, alongside the full range of artefacts and resonances such a guitar can be made to reveal, among them the voice itself, sung through the strings. This is the sound world of the instrument as he hears it, and it has kept opening since Bibrax. The spectrum of solo electric guitar widens further here as those techniques share the room with more conventional playing and a broader palette: a Fender Bass VI, a 12-string electric, and on one piece a steel-string acoustic.Some of the pieces lean into fragility and let it stay. Others are epic and densely detailed - wall-of-sound passages that move across the whole frequency range, from the high crispness of an insect world down to sub-low, earthquake-like rumble. All of it is made live, in real time, on a single guitar - which makes the comparison to a classical recital literal rather than figurative: technically, that's what it is.All the pieces are his, written across those five years, except \"\"Alti Plano,\"\" which draws on a traditional Bolivian melody. The record was made live to tape in May and August 2023 at Electric Monkey Studio in Zaandam, with Kasper Frenkel engineering. Almost everything is analogue, apart from a few pedals. 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The spectrum of solo electric guitar widens further here as those techniques share the room with more conventional playing and a broader palette: a Fender Bass VI, a 12-string electric, and on one piece a steel-string acoustic.Some of the pieces lean into fragility and let it stay. Others are epic and densely detailed - wall-of-sound passages that move across the whole frequency range, from the high crispness of an insect world down to sub-low, earthquake-like rumble. All of it is made live, in real time, on a single guitar - which makes the comparison to a classical recital literal rather than figurative: technically, that's what it is.All the pieces are his, written across those five years, except \"\"Alti Plano,\"\" which draws on a traditional Bolivian melody. The record was made live to tape in May and August 2023 at Electric Monkey Studio in Zaandam, with Kasper Frenkel engineering. Almost everything is analogue, apart from a few pedals. 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The first step into a realm of peace and love will be the long-awaited re-edition of 'Music On The Way' to celebrate it's 40th anniversary.    'Music On The Way' was the artist's debut in 1980 and has not been reissued since it's initial release. A mesmerising ambient recording with just a touch of early new-age music in it's finest incarnation.     An absolute classic in the spirit of Iasos, Brian Eno, Jon Hassell, Michael Stearns... finally available again on limited vinyl and extremely limited CD.    The outstanding mastering works has been prepared by Grammy-nominated Jessica Thompson which guarantees an immersive deep sound experience and an unforgettable journey inwards.    Peter Davison has composed music scores for Indie Features, the History Channel, A+E, Biography, PBS, Warner Bros., Disney, Universal, Discovery, Gaiam (Yoga\/Relaxation music) and others. Over 25 CDs of his music are available on EMI\/Higher Octave, Gaiam, Davisounds and TSR\/Baja.    His instrumental 'Sip of Wine' (from his CD 'Future, Present, Past') received the Best Song of the Year Award, Hollywood Music in Media Awards, (New Age\/Ambient), 2010. Both 'Fern Valley' and 'Mount Tahquitz' from his CD 'Forest Home' and 'Possibility' (from his CD 'Possibility') have also received nominations. Peter's score for the PBS Series 'The Endless Voyage' was nominated for the 'Best Score of the Year, TV Show.'    Peter Davison has composed the memorable music for over 45 of GAIAM's award-winning DVDs featuring master instructors yoga and meditations Rodney Yee, Patricia Walden, Suzanne Deason, David-Dorian Ross, and others.'\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAutumndrones\u003c\/li\u003e\n\u003cli\u003eBreath Of Leaves\u003c\/li\u003e\n\u003cli\u003eSleep On The Wind\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 8016670139478\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Fact Of Being\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.2.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl Records\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Fact Of Being","offers":[{"title":"Default Title","offer_id":46537470836932,"sku":"8016670139478","price":50.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0711\/9336\/2628\/files\/3771433-2563877.jpg?v=1787013521"},{"product_id":"pre-order-iasos-inter-dimensional-music-cd","title":"Pre-Order: Iasos - Inter-Dimensional Music [CD]","description":"\u003cp\u003eA \"Fact of Being\" was lucky happy to invite you to Iasos dimension and presents 3 epic ambient\/new-age releases from a remarkable artist.  Iasos is a Music Creator, specializing in celestial, heavenly, inter-dimensional music. He is also one of the original founders of 'New Age,' named 'the Duke Ellington of New Age and the 'Creator of New Age' by the New York Times. His albums often appear in lists like \"the list of 50 Best Ambient Albums of All Time.\" by Pitchfork, and \"The 20 best new age albums\" by Factmag, to name just a few.   Since 1968 Iasos has remained focused and dedicated to his original intention - composing and recording his music, giving seminars, and doing multi-media concerts around the world. His music has been used by NASA, LAZARIS, ENCYCLOPEDIA BRITANNICA, LASERIUM, and HEWLETT PACKARD, as well as by numerous hospitals, health clinics, therapists, mental health clinics, and surgeons throughout the world. Despite this, we found that some of Iasos's masterpieces are criminally rare and hard to get on physical formats. In 2019 through discussions with Iasos, we have chosen 3 albums for the first part of the reissues of Iasos's music on the Fact of Being on vinyl and audio CD. May this music be an OASIS for your Soul.  In 1975 Iasos, published his first work 'Inter-Dimensional Music' which during the years became an absolute classic of a new age and ambient music. This is probably a first 'new age' album ever released. In addition, a year after in 1976 Steven Halpern, with his well-known masterpiece 'Spectrum-Suite' cemented the existence of style. Being unique, the music lays at the crossroads of ambient, new age, psychedelic, prog, and space music. Recommended for fans of Peter Davison, Popol Vuh, Brian Eno, Robert Fripp, Steven Halpern, and Michael Stearns' early works.  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His credits include music for Ron Fricke's non-verbal 70MM films 'Chronos', 'Baraka' and 'Samsara (with Lisa Gerrard And Marcello de Francisci)', music for NASA, Laserium, Disney films, HBO, ABC, PBS, BBC, Discovery Channel and James Cameron's 'The Abyss', 'Titanic' and 'Avatar'. Michael works in his studio 'The Guest House', in Santa Fe, New Mexico.     In 1975, Michael moved from Tucson to Los Angeles to study with Emilie Conrad at the Continuum Studio. Emilie had 'live' music for her 'movement meditation' classes, and Michael began performing with Fred Stofflet, Gary David, and Don Preston. Ancient Leaves (25:43) was Michael's first album, recorded in 1976\/77 with a Mini Moog synthesizer and a Finish lap harp (Kantele) onto 4 track tape. To the other instruments, Michael added Emilie chanting, an ascending choir with Susan Harper and Linda Olsen vocalists, Gregorian Chants and a night ambience recorded in the desert outside of Tucson, Arizona, his hometown. 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The long-awaited re-edition of a highly acclaimed and innovative album 'Glide' 1981 to celebrate it's 40th anniversary. 'Glide' was the second artist's album. Released in 1981 on vinyl and urgently repressed in 1982 due to high demand it was sold out fast again and has not been reissued since that. To date, this is one of the rarest and wanted ambient recordings that finally available again with original artwork and short liner notes from Peter Davison himself.A fascinating ambient album less new-age more minimal ambient. An absolute classic in the spirit of Iasos, Brian Eno, Jon Hassell, Michael Stearns...Peter Davison has composed music scores for Indie Features, the History Channel, A+E, Biography, PBS, Warner Bros., Disney, Universal, Discovery, Gaiam (Yoga\/Relaxation music), and others. Over 25 CDs of his music are available on EMI\/Higher Octave, Gaiam, Davisounds, and TSR\/Baja.His instrumental 'Sip of Wine' (from his CD 'Future, Present, Past') received the Best Song of the Year Award, Hollywood Music in Media Awards, (New Age\/Ambient), 2010. Both 'Fern Valley' and 'Mount Tahquitz' from his CD 'Forest Home' and 'Possibility' (from his CD 'Possibility') have also received nominations. 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Over 25 CDs of his music are available on EMI\/Higher Octave, Gaiam, Davisounds, and TSR\/Baja.His instrumental 'Sip of Wine' (from his CD 'Future, Present, Past') received the Best Song of the Year Award, Hollywood Music in Media Awards, (New Age\/Ambient), 2010. Both 'Fern Valley' and 'Mount Tahquitz' from his CD 'Forest Home' and 'Possibility' (from his CD 'Possibility') have also received nominations. 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The remix of 'Davy Jones' Locker' from System 7 takes you surfing on a sun-dappled sea of ambient dance nostalgia, while Killing Jokes' 'European Super State' remix (in which LSD label founder Martin 'Youth' Glover plays bass guitar) sounds like the soundtrack for an imaginary spy thriller with the powerful lyrics and hypnotizing voice of Jaz Summers. Legendary producer Youth teams up with LX yet again on a psychedelic rocker with spellcasting vocals by Lara Smiles, and this is just the beginning! 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The words of W.E.B. Du Bois, Sylvia Wynter, Dionne Brand, Fred Moten, Édouard Glissant, Suzanne Césaire and Aimé Césaire are transmuted and circulated as sound, offered to listeners through radio, live events, albums and installations. Fofana honours his sources with an audible historical awareness, yet his sounds always simultaneously open out into the turbulent uncertainties of the present. The music we hear on the album Corps Perdu was previewed within a series of collective reading and listening sessions carried out in Paris, Barcelona, Tunis and New York City, where voices from the audience read aloud fragments from a body of texts Fofana had selected. The spontaneous unfolding of close reading and listening, mixed live by Fofana in these collective listening experiences, speaks to the open-ended quality of Corps Perdu. The album, now published, is but one iteration of this ongoing inquiry into the relationship between sound and text. Corps Perdu presents an introspective journey with no return, and as such is full of omens of all kinds. Across ten tracks Lamin Fofana creates a sibling or companion to the transformation he initiated in his previous album Works in Metal, building a narrative that takes us into Krakatoa prior to it's eruption, and let's us listen to Césaire's 'flying seed dreaming very loudly'. The album's track titles and narrative arc hum in and out and alongside Césaire's poetry, mainly Césaire's 1950 collection Corps Perdu, in which the ten poems are accompanied by engravings by Picasso merging fragments of bodies and plants-a collaboration that emerged from their first encounter two years earlier, at the Communist-led World Congress of Intellectuals for Peace, in Wroclaw, Poland. The music on Corps Perdu labours intuitive hand-held melodies through dense processing. There are many rhythms throughout, though these never surrender to the density of the dancefloor grooves we've heard Fofana craft on previous albums (think of the 'Obscure Light' pair from Works in Metal for example). Instead, Fofana gently releases the clenched hands Césaire's Corps Perdu begins with: 'Among me, from myself, to myself, outside any constellation, clenched in my hands only, the rare hiccup of an ultimate raving spasm, keep vibrating word'. The album carries through sound the scattering and liquid fragmentation that shape the desperate metamorphosis of a 'lost body'.In an interview published in Tropiques in 1945, Césaire spoke of poetry as a 'rupestral design in the stuff of sound'. That a stone can hold an image, and that this image may be of sound, that then becomes poetry, is a form of progression not foreign to Fofana's music, which likewise works through transmutation. Even when intricately rich with text, Fofana's Corps Perdu invites the listener into expansive and affective channels of sound, a powerful iteration within his open inquiry, which continues to resist any definitive or final form. 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