Bleeding Fingers on Electric Guitar - Hans Zimmer

U8 Touch Guitar new-baroque improvisation

Lamentation

VLASTUR - Parvati In Dub & Other Stories | In Focus | 14/01/2015

Tragically, this was Bob Belden’s last recording. 
....
	Listening to this darkly dystopian concept album made me wonder, “What would Miles Davis have done had he lived long enough to create the soundtrack to Matrix”?
	To help Belden realize his futuristic 2001: A Space Odyssey-inspired vision for Machine Language, he enlisted vocalist Kurt Elling as narrator for this cyberpunk opera. “My own memory of any conversations regarding the piece is that there was minimal discussion before making the voice over,” said Elling, who had previously appeared on Belden’s 1996 project, Shades of Blue. “The only real direction I received was to ‘sound like a sad, well-spoken computer.’ I did the actual recording by myself at a studio in St Louis, with Belden occasionally commenting via ISDN. I did a cold read once down, without music, and expected Bob to make whatever edits and adjustments he wanted.  I was in and out of the studio in an hour.” 
	Belden’s text for Elling reads like an excerpt from Philip K. Dick’s 1968 novel “Do Androids Dream of Electric Sheep?,” which later became the literary source for the 1982 Ridley Scott movie Blade Runner. And the darkly foreboding music, performed by Pete Claggett on muted trumpet, Roberto Verastegui on electric keyboard, Matt Young on drums, Belden on soprano sax and Laswell on electric bass guitar, takes part of its inspiration from Miles Davis’ 32-minute ambient requiem for the recently-deceased Duke Ellington, “He Loved Him Madly” (from 1974’s Get Up With It). 
	The narrative arc of this cyberpunk opera begins with narrator Elling intoning over a droning ambient musical backdrop (in his finest Rod Serling-esque voice) about the difference between the irrational force of ‘human machines’ and the perfection of ‘pure machines‘. This exegesis leads to the instrumental “Machine Language,” which is fueled by Laswell’s bubbling Mu-Tron inflected basslines and Young’s hyper-interactive drumming. Elling advances the narrative on “Eternality,” in which the human machines try to exert a supremacy over pure machines, and music grooves along on “Consistent Imperfection,” which has Claggett’s muted trumpet sailing in half-time over Laswell and Young’s bubbling undercurrent and Verastegui’s spiky Nord comping and cascading arpeggiating. They return to hyper-drive on “Genesis Code,” spurred on by Young’s intense drum ‘n’ bass beats in tandem with Laswell’s pulsating low-end lines. Claggett wails with ferocious abandon on this aggressive jam and is followed in kind by Belden’s unbridled blowing on soprano sax. 
	Elling returns to narrate over the mellow keyboard work of Verastegui on “Evolved Virtual Entity,” describing how the pure machines begin to dominate the human machines “in ways that only fantasy had described,” leading to the loping and spacey jam “Disappearannihilation.” 
	While “The Evolution of the Machine” sounds like an outtake from Miles’ Bitches Brew, the throbbing, frantic tempo on the drum ‘n’ bass number “Dark Matter” is definitely of the here and now, providing both Claggett and Belden with some of their most impassioned solos of the set. The melodic powers of Laswell’s fretless electric bass are in full effect on the mournful rubato number “Technomelancholia.” And robotic narrator Elling returns to sum up Belden’s existential thesis on the closing track, “A Machine’s Dream”:

Can a machine dream?
What would a machine’s dream be?
Can a machine dream like a child?
Can a machine have an imagination?
Or does a machine dream of conformity, of accomodation, of servitude?

	Will a machine’s dream be inspired by a human model?
Or can a machine create and develop a unique dream into a reality?
Or would the machine’s dream be to create a new human machine,
a virtual existence gestated and nurtured by the pure machines?
                                                                                                                                 -- Bill Milkowski

Animation - Genesis Code

Animation - Dark Matter

Relentless: Sussan Deyhim and Peter Freeman
Produced by Peter Freeman
Featuring: Knox Chandler

2 - Relentless

MARK HEWINS - Slide Guitar & ELTON DEAN - Alto Saxophone -1988- Dedicated to Syd Barratt 
Recorded at Westwaters studio in Dalston, London during the 'Two's and Three's' CD recordings; Released initially on the 'Duo's' cassette as 'HeWins', this track was subsequently released on the CUNEIFORM EDQ CD 'Moorsong', apparently becoming the title track. (although very badly remastered - and not by me)NB:
I am still waiting on the royalties for any iTunes downloads from CUNEIFORM 'records' or for them to EVEN ASK MY PERMISSION TO DISTRIBUTE DIGITAL FILES OF MY WORK or forward ANY mechanical royalties due for my performance and co-writing on the MOORSONG CD. (Still waiting) 
Incidentally, even my personal copy of the 'MOORSONG' CD I had to purchase myself.

08 MOORSONG

Four

Early Light

Filled With Colour

UTE Live At Luton Tech 07 - 11 - 1992

Bassist for Porcupine Tree, other collaborations include: O.R.k. , Ex-Wise Heads (with flute/sax player Geoff Leigh), Burnt Belief (with guitarist Jon Durant), Endless Tapes (with multi-instrumentalist Alessandro Pedretti), Astarta/Edwin with (Ukrainian Vocal duo Astarta), Metallic Taste of Blood (with Eraldo Bernocchi), Slow Electric and Henry Fool (with Tim Bowness) also Twinscapes (with Lorenzo Feliciati) and Edwin/Durant/Kovtun.
Obake (with Lorenzo Esposito Fornasari,Eraldo Bernocchi and Jacopo Peirazuolli), latest album "Another World" with Robert Jurjendal,  and two solo albums so far....

Filled With Colour

Colin Edwin