Tuesday, March 25, 2014

Tim Bowness signs to InsideOut Music

Tim Bowness signs to InsideOut Music and announces second solo album

InsideOutMusic is extremely pleased to announce the signing of Tim Bowness (No-Man, Henry Fool, Memories of Machines) for the release of his forthcoming second solo album 'Abandoned Dancehall Dreams'.

Tim had this to say about the signing:' I'm really looking forward to working with Inside Out for the first time. Abandoned Dancehall Dreams is a departure from my previous solo work and is perhaps more in line with the widescreen, cinematic nature of No-Man's music. As such, it's like an exciting new beginning on all fronts.'

InsideOutMusic label-head Thomas Waber adds: 'We are very excited to be working on Tim's excellent new solo album. We have been fans of his music for a while now and are looking forward to the possibilities that this new partnership can bring.'

'Abandoned Dancehall Dreams' is slated for a 24th June 2014 release in the USA and was produced by Bowness and mixed by Steven Wilson. It also features performances from Pat Mastelotto (King Crimson), Colin Edwin (Porcupine Tree), Anna Phoebe (Trans-Siberian Orchestra) and members of the No-Man live band (Stephen Bennett, Michael Bearpark, Pete Morgan, Steven Wilson, Andrew Booker and Steve Bingham).

Tim Bowness is primarily known as vocalist/co-writer with the band No-Man, a long-running collaboration with Steven Wilson (Porcupine Tree). In addition to releasing six studio albums and a documentary DVD with No-Man, Tim has worked with popular Italian artist Alice, Robert Fripp, Hugh Hopper (Soft Machine), OSI and Roxy Music's Phil Manzanera (amongst many others), and is a member of the bands Henry Fool and Memories Of Machines.




OPETH's MIKAEL ÅKERFELDT Says There Are 'Stronger Vocal Melodies And More Melodies Overall' On New Album

Noisey recently conducted an interview with guitarist/vocalist Mikael Åkerfeldt of Swedish progressive metallers OPETH. A couple of excerpts from the chat follow below.
Noisey: From those first days with ERUPTION to the upcoming OPETH release, how have you seen yourself evolve both personally and artistically since the first chord or lyric you wrote?
Mikael Åkerfeldt: Wow. I was 14 when I had that band ERUPTION. It was a three-piece, and I did write the songs, but we also played some covers. But it was just a learning thing for me, just a fun thing to play together with your pals and play some heavy metal songs. We did some MISFITS covers and stuff like that — really simple stuff, and I remember I was just blown away by the fact that you could get these instruments to sound good together. That you could have a drumbeat, a bass guitar that would add to the guitar riffs that I was playing just blew my mind. It was really just innocent fun, basically, in those days, and then now it's been so many years since, but it's what I do. It's what's kind of shaped my whole personality and my whole life. I owe so much to music. Like I said, it's become part of my personality. Everybody who knows me knows how important it is for me. I've changed so much. It's impossible to say. But I like to keep that innocence intact a little bit, because I don't want to get too carried away in the business side of things. I'm interested in the business side of things, but I still value the creativity and the creative side of being in a band more than anything else. I mean, I have a career, so to speak, and we do make a living doing this now, which is fantastic, of course, but I like to think it's never been at the expense of that initial innocence in creativity. It's still there.
Noisey: Was there a different approach with this latest record as opposed to "Heritage", and what does OPETH's writing process generally look like from its genesis to the point where you guys feel comfortable that you've created something singular?
Mikael Åkerfeldt: Normally when I start writing for a record, I'm a bit nervous. You don't know whether or not you're going to be able to come up with something that you like or come up with something at all, to be honest. I was inspired because pretty early on, I wrote a song on the new album — the last song on there, which I ended up being really happy with. So I had some type of guidelines which was more melody, I think. "Heritage" was somewhat deliberately fucked up all over the place because I love fucked-up-all-over-the-place-type music, but I wanted to do something more melodic with this album, so there's stronger vocal melodies and more melodies overall for this album. I was pretty consistent with that frame of mind throughout the writing process, so at least I had a plan with this album, and I normally don't, to be honest.
Noisey: What's been the greatest obstacle for you personally since you first began to play music professionally, and how did you overcome it?

Mikael Åkerfeldt: Well, there's been many obstacles. Financially, like in the early days with the first four or five records, we didn't make a penny. And at the same time, I lived with my mom until I was 23 or something like that, which was horrible. There were lots of obstacles. For many years, I think a lot of people just thought I was a dreamer. Like, "You'll never get to where you want to go," because of whatever. It sounds boring to bring up finances, but eventually, you have to pay a bill or pay the rent or something like that, then dreams are not enough. You need something else. Our career, though, was still fairly easy, I have to say. We never had to sell ourselves or things like that in order to get a headstart somewhat. We got our first record deal based on a 10-second rehearsal tape so that was easy. That wasn't a problem. We did three records with them. We didn't really tour or anything, and we didn't make any money, but we had three records out that were pretty good and exciting for the time. Then we got a new record deal with a bigger label that was run by an even bigger label that eventually ended up taking us on, and then we got to Roadrunner. Everything on the business side of things has been pretty smooth, but we didn't make a living until we put out the fifth or sixth album. That was difficult, but the motivation for me was never faltering. It was always there. I could live on canned food. That wasn't a problem, because music made me happy. But I would have to say, even if it sounds boring, that the biggest obstacle was that I didn't feel part of society. I couldn't buy food. I couldn't buy anything, so I had to borrow money from my mother and stuff like that, so that was a big obstacle for us. I still kept my motivation intact because it was the only thing that made me happy. I couldn't see myself getting a so-called normal job because it wouldn't have made me happy. I'm determined in that way that no obstacle is going to stop me. 

Bob Moog Foundation Expands Education Initiative

Bob Moog Foundation Continues to Expand Education Initiative

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Asheville, NC - March 2014... In less than three short years, the Bob Moog Foundation's hallmark educational initiative, Dr. Bob's Sound School, has become a powerful learning tool for teachers across multiple school districts, and continues to grow at an unprecedented rate.

First launched as a pilot program in Asheville City School District in 2011, Dr. Bob's Sound School (DBSS) is a 10-week experiential curriculum that educates second grade students in the science of sound through the magic of music. Using acoustic and electronic instruments, oscilloscopes, and custom educational materials developed by the Bob Moog Foundation educational team, students gain a new understanding of vibrations, waveforms, sound propagation, pitch, loudness, and other properties of sound.

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The initial first-year pilot brought the program to eight classrooms, with several dozen students being treated to what proved to be a truly unique learning experience. The following year, the addition of Buncombe County School District grew the program to 32 classrooms. Since then, the program has expanded into neighboring Madison County, growing to serve more than 1000 students in 55 classrooms across the metropolitan area.

As the Bob Moog Foundation's Executive Director, Michelle Moog-Koussa, explains, the growth is part of a long-term plan to bring the program to educators everywhere. "We've seen the dramatic effects of enlightening students about the science of sound early in their education, and we know the impact that exposure to music has on young people," she observes. "Ultimately, our goal is to see Dr. Bob's Sound School in 500 classrooms across several states in the next three to five years, and eventually take it nation-wide."
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As the word has spread about the Bob Moog Foundation's work, support has continued to grow. Recently the BMF announced a strategic partnership with leading EDM concert promoters Disco Donnie Presents, with DDP sponsoring a one-day Dr. Bob's Workshop for more than 300 fourth grade students in the Houston area, and opening a new BMF donation portal on their ticketing website.

"The Bob Moog Foundation shares our values and belief in the importance of education and creativity in the teaching of music, math, and science," remarked Donnie Estopinal, CEO of Disco Donnie Presents. "We are proud to support such a wonderful organization, and excited for the potential behind this collaboration."

"There are few things in life as gratifying as seeing the looks on these kids' faces - the way their eyes light up in those 'ah-ha' moments is the single best reward anyone could ever receive," concludes Michelle Moog-Koussa. "The embrace of Dr. Bob's Sound School by administrators, teachers, and students alike has exceeded our most optimistic expectations. We're so grateful for the support we've received, and we're truly excited for what lies ahead for the efforts of the Bob Moog Foundation."
About the Bob Moog Foundation

The Bob Moog Foundation is a 501(c)(3) non-profit organization located in Asheville, North Carolina. Our mission is to ignite creativity through the intersection of music, science and innovation. The Bob Moog Foundation was founded to honor the legacy of Bob Moog by inspiring people of all ages through the genius of Bob's legendary work in providing innovative musical instruments to musicians, giving them a new voice for creativity. The Foundation provides much-needed innovative and effective educational opportunities to today's youth - tomorrow's generation of creative thinkers and problem solvers.
The Bob Moog Foundation is not affiliated with Moog Music.


The Bob Moog Foundation
PO Box 8136
Asheville, NC 28814
Tel: +1 (828)-258-1262

Publicity: Get It In Writing, Inc.
Tel: +1 562.546.3342
(+1 562 54 MEDIA)