Listen on YouTube: https://www.youtube.com/watch?v=qaskf6C9bYE

Website: https://kennethmulwee.com

The Sands Of Time

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Songs from the edge of somewhere.
You don’t know if you’re walking into a protest, a party, or a funeral.
Bluesy, soulful rock’n’roll.
Haunted, deep and raw. 
The kind of raw you can’t fake.

“You don’t sound like anyone else,” said Danny Thompson - legendary bassist for Nick Drake and Joe Strummer - about English producer Conil.

Tchad Blake, sonic architect for Tom Waits and Elvis Costello, agreed: “Strange Part of the Country is an amazing album. I still listen to it.”

Fleetwood Mac’s Peter Green was also a fan, making a rare visit to Conil’s studio to record a mellow take on “Woke Up Around Midnight,” his smoky tribute to the jazz greats.

Conil’s distinct sound has drawn praise from Marc Ribot, Davey Graham, Pino Palladino, and John Leckie - artists and producers known for recognising the real thing when they hear it.

Upon release, Strange Part of the Country made quiet but lasting waves. Q Magazine gave it four stars and a Q Recommends stamp. Blues Matters Magazine put Conil on the cover, calling him “one of the most original artists out there.” In the U.S., “Years Between” climbed to number three on the Alternative Radio Chart.

Raised in England on the Rolling Stones, the Velvet Underground, and Tom Waits, Conil later lived in some of the world’s most musically charged cities - New Orleans, New York, Chicago, Austin and Berlin - chasing sound wherever he went.

That began early. He travelled far, met the Dalai Lama, climbed Kilimanjaro, and crossed the Himalayas - experiences that shaped his perspective and his music.

He is now finishing his long-awaited second album - recorded in New Orleans, Chicago, London and Greece - with Danny Thompson, Tchad Blake and more.

Film/Television/Game Composer.

For any business inquiries, email me at: kennethmulwee@gmail.com

Hailing from upstate N.Y. but now situated in the "City of Big Shoulders", Chicago, IL, Ryan Bell a.k.a. Moving Violationz always saw himself involved in music from an early age but was never able to capitalize on any sort of lessons in a particular instrument growing up in the smallish towns of Binghamton and Cortland, N.Y., save for some beginner lessons on the recorder flute and acoustic guitar. He grew up in the seminal early 80's, gaining influence early on from synthpop pioneers Thomas Dolby, Depeche Mode, Erasure, and the Pet Shop Boys and immediately fell in love with the classic sounds of the era's signature keyboards and synths. These sounds are what also drew him to film music, as he was additionally mesmerized by the synthetic classical noodlings of Vangelis, Giorgio Moroder, and Harold Faltermeyer (just to name a couple) for their respective work on the scores for "Chariots of Fire", "Midnight Express" and "Top Gun".

Without sounding like too much of a hard luck case, his ordeal of living a very sheltered adolescenthood, nevertheless, left him without alot of exposure to any kind of music, his first love! Disillusioned, he seemed to wander around aimlessly in a musical wasteland for three years after moving out on his own at the age of 18 in 1992. That was until, while enlisted in the Navy, he stumbled on hearing the classically-tinged synthetic bombast of Hans Zimmer in 2 films that changed his life seemingly forever: "Crimson Tide" and "Broken Arrow" in 1995 and 1996, respectively. With a new found love of film scores guiding his footsteps and ideas, Ryan resolved to ultimately become a composer of the film music he had started to (at this point) avidly collect and admire. Little did he know what would step up to greet him, influence, shape, and mold his musical directions next!

Upon moving to Chicago and meeting his Occum's Razor bandmate, Truth One a.k.a. Andy Woodman in 2000, Ryan was introduced to the menacing, pummeling breakbeats of drum and bass/jungle through a CD of Andy's from Philadelphia DJ and producer Dieselboy called "The 6ixth Session"! What struck Ryan like a 500 megaton bomb was the fact that drum and bass, like film scores, seemed (and indeed is) the perfect music of such extreme contrasts, tranquil and a thing of beauty one second and then, unexpectedly, a brutalizing juggernaut of beats bludgeoning you into submission. This was evident in "The 6ixth Session"'s opening transition from Dieselboy's own peaceful but dissonant intro to the battle cry, angry reece, and subsequent "murder-the-world" beats of Konflict's seminal jungle anthem, "Messiah".

Needless to say, it was all "downhill" from there, as the impression left by this new (to Ryan) form of music truly changed his life---FOR GOOD! From then on, it wasn't enough that he should attempt to DJ the music that had permanently changed him, HE WANTED TO CREATE IT!

Going off of what he had learned hands-on about creating film scores -- he had created an 8-cue demo CD of interesting soundscapes he felt would be useful in various types of visual media a few years prior -- Ryan set out to pay homage to all his influences by creating what would hopefully be an interesting melange of classical touches, trancey atmospheres as well as (on the other side of the coin) militaristic drums and angry textures. What you hear on this page is a culmination of these efforts!

The Sands Of Time

Kenneth Mulwee