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NEW RELEASE OCTOBER 24th 2003
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The New Follow-up to his successful "To Earth and Back" NEW RELEASE 11/03 Brannan Lane has shown to be an extremely prolific ambient/space composer in the past 3 years. After nearly 2 years from his debut release at SFM, "Escape Velocity" is an excellent 2nd release and will satisfy the Brannan Lane music fan. Ambience abounds with a unique palette of sounds. A talented artist with an ear for aural delicacies.
Brannan Lane - Synthesizers, bean pods, bamboo shaker, djembe, water sounds, bamboo wind charmer, Navajo rattler, rain stick, recycler, processes and treatments. |
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MP3 Listen "Escape Velocity" HERE
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NEW RELEASE MARCH 18th 2003
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In Memory of the Columbia Space Shuttle and Crew. NEW RELEASE 3/03 Zero Ohms teams up with ambient musical artist, Brannan Lane for a follow-up to their number one release "Soundfall to the Infinite" from exactly one year ago with "Immense Distance". The recording is dedicated in memory of the Columbia Space Shuttle astronauts and shows a shuttle photograph from NASA on the front cover. Brannan Lane - Synthesizers, bean pods, bamboo shaker, djembe, water sounds, bamboo wind charmer, Navajo rattler, rain stick, recycler, processes and treatments. Gordon Rhyne - electric tambura. |
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LISTEN from "Immense" mp3 audio sample
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Exploring textural scapes of sound and making ambience within his creative sound palette. Brannan is a multi genre artist. With each successive title his reputation grows as a producer and composer. He has performed in the US, Europe, Asia and the Caribbean. He’s been a professional musician for 27 years. Brannan draws from a wide range of influences. His (ambient music) release "Lost Caverns of Thera" debuted on the charts at #30 and has been featured on the syndicated radio show “Music From The Hearts Of Space”. It also made the Backroads Music “Best of 2001” List. His cd “Sleep Cycle” charted on the “NAV Top 100 Airwaves” as well and has also been featured on the “Hearts Of Space” syndicated radio show. Brannan Lane - sythesizers, shakers, wind chimes, voice treatments and electronic percussion |
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New Collaboration Team - Brannan Lane teams up with wind-synth artist, Zero Ohms for new CD. NEW RELEASE 3/02 As the result of being asked to perform for the Space for Music Festival 2002, Zero Ohms and Brannan Lane started exchanging music back and forth creating a new sound collection which is now available as "Soundfall To The Infinite" on the SFM label. We think it is the strongest collection of work from either artist and hope they continue putting out music like this, together. special note: cover art is by space music artist Robert Carty. Zero Ohms - Flute, Bass Flute, Wind- Synth, Bass Bamboo Flute, Native American Flute, Nepali Sheesham Flute, Thai Pii Joom Reed-Flute, Indian Bansuri, and treatments. Brannan Lane - Synthesizers, bean pods, bamboo shaker, djembe, water sounds, bamboo wind charmer, Navajo rattler, rain stick, processes and treatments. Gordon Rhyne - Overtone Voice. SECURE SERVER ORDERING BELOW
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LISTEN "To Earth and Back" HERE
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| CLICK for new Interview with Ambientrance.org's David J Opdyke! | |||||||||||||||||||||||||||||||
| VISIT ZERO OHMS WEBPAGE | |||||||||||||||||||||||||||||||
| ZERO OHMS AND BRANNAN LANE Soundfall to the Infinite SpaceForMusic.com Records (2002) I was totally blown away by the collaboration between Zero Ohms (Richard Roberts) and Brannan Lane, Soundfall to the Infinite. This is an amazing synthesis of ambient electronics, ethnic percussion (shaker, djembe, rattle, rainstick), flutes, and processing. Lane handles the percussion, synths, processing and treatments, while Roberts/Zero Ohms plays seven kinds of flutes (!), his trademark wind-controlled synthesizer, and also handles some treatments. The album is comprised of three two-part movements. The first is called "Beyond the Dream Garden" with part one being "Beyond" and part two titled (you guessed it) "The Dream Garden." (This pattern holds true for each of the remaining two movements as well). "Beyond the Dream Garden" is fantastic. Melodic yet somewhat droning synths float underneath echoed percussion (a la Rich or Roach) but since the tonality is major key (which was a pleasant surprise), the feeling is not one of shadow but one of hope and warmth - almost evoking the feeling of a Japanese Zen garden or reflection pool. This movement, like the other two, goes patiently through its motions, evolving ever so slowly yet distinctly. The music throughout Soundfall to the Infinite has a discernible (and intoxicating) organic life force. While the CD has to be labeled ambient, I've heard minimal Japanese meditation music that contained the same vibe as some of this does (along with more than a few recordings by ace flute duo Coyote Oldman). The echo effect on the percussion is absolutely perfect, imparting just enough atmosphere without tarnishing the positive vibration with darkness. "Endless Land of Blue Mist" showcases Roberts' prodigious flute talents. Opening with the sounds of waves crashing on the shore (synthesized or treated), the combination of processed bass flute playing and waves (along with background dripping water it sounds like) is both calming and invigorating. Some of the wave effects have a bit of thunderousness to them, which might come across as jarring at first, but it added to the naturalness of the experience to my ears. As the movement progresses, sea birds call to each other and another flute soars delicately over the lower bass flute notes. There is an unforced naturalness to this music (in fact, throughout the CD). This is a different type of ambient music that somehow combines the (dare I say it) healing and melodic tendencies of new age music with the unstructured minimalism of Eno-school ambient music - quite the feat, I think. I also continue to be reminded of Eastern music as well. The movement winds down and the waves are replaced by gently running water (the stereo separation in this section is excellent, by the way). In the second movement, Richard shifts to playing Native American flute (processed and echoed in a Coyote Oldman fashion) with Brannan contributing on rattles. In addition, various ambient textures and treatments, as well as what again sounds like the bass flute lend an air of spaciousness and drifting to the piece. Echoed percussive effects are also used in the cut. The flute playing on this track may be the most out-front of the whole album, and it's haunting in its forlorn quality. The title movement ("Soundfall to the Infinite") closes the album with a thirty-two minute trip into minimal gentle pure ambient territory. In the first section, amidst mild drones, twinkling chimes (like upper register wind chimes), and serene washes of assorted synthesizers, a six-note refrain is played. Bamboo flute (I think) wafts here and there sparingly, introducing another musical element. The subtly evolving piece is the epitome of ambient music, as the various elements combine to perfume the air with a stillness and tranquillity that is almost indescribable. I dislike repeating myself, but I'm consistently put in the mind of sitting by a rock garden, a reflecting pool, or other Eastern meditation environment. This track is easily my favorite, although I love the entire album so it's more a matter of being highly subjective at this point. The final track takes the CD into deep space, opening with long droning washes of synthesizers, a la Serrie, Bowles, and (especially) Telomere. There are also some treatments and textures that impart a vast openness to the music here. At times, the synths sound a bit like overtone singing (such as practiced by Jim Cole) and at other times, the overall sound is closer to traditional - but highly subdued - synth choral work (Larry Kucharz-like). But these comparisons are only for the sake of such, and are not indicative of any copy-catting in the least. The swelling drones and background washes are the closest thing to a "dark" track on this album, but it's probably only neutral in emotional impact, actually. Different elements are brought to the forefront throughout the piece and sometimes the music gets extremely soft and minimal. Then again, when the quasi-overtone singing becomes pronounced, the music is more "there." Soundfall to the Infinite demonstrates the greatness and magic that can come about through collaborative efforts in the ambient genre. Both of these artists have produced magnificent work on their own, but I was unprepared for how sublime this CD is. While I can imagine that some hardcore ambient enthusiasts may be put off by the presence of overt flute music (even though it is wonderfully performed by Roberts) and other listeners may consider the music too close to the spirit of "new age music" (again, a superfluous distinction to my mind, since most new age music has always contained ambient characteristics), I think Soundfall to the Infinite is a modern-day classic. By using elements such as flute, hand percussion, and Eastern textures, Lane and Roberts have created the best of both worlds: the calm serenity of Zen-influenced music with the overall feel and texture of ambient music. I can't recommend the album highly enough and I hope it earns the recognition it deserves. review by Bill Binkelman |
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CONTACT BRANNAN LANE at: bl@brannanlane.com
OFFICIAL BRANNAN LANE WEBSITE: brannanlane.com
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