Panic To Live

It's just another rock song about love. I know, I know. Heard one, ya heard 'em all. There are a lot of tracks in this one. 5 guitar tracks and 9 or 10 vocal tracks. Keyboards are all from my Korg Kronos. I used my Epiphone acoustic tuned down a full step. 
Hope you like it! I had a ton of fun doing this one although it took a month just to get lyric ideas.

I See It In Your Eyes

Venue unknown, but in London, could be Conway Hall. I was at Sherborne at the time and don’t know anybody who was there. BB (Ben Bennett)

Concern for the Future Preview 1972 - 03 - 15 Lecture JG Bennett

Another old song, music written by the band- Rick  Britton Guitar, Norm Hacker Bass, Rod Blacker Drums, Sue Palmer on Lead Vocals. Me JeremyThornton on Keyboards. I wrote the chord structure and lyrics. The band arranged it. Rick was the male vocalist. From 1984 recorded at Orchard Sound in Mississauga Ontario Canada.

Starved For Love

04 Border Crossings Part I

From the Album: Revealed on Circumvention

Dominic Duval, Bass
John Heward, Drums
Dana Reason, Piano (composition by Dana Reason)

01 Transition

From Revealed Album

Dana Reason, piano
Dominic Duval, bass
John Heward, drums

07 Dance of the Bass, Part 2

from Revealed

Dana Reason, piano
John Heward, drums
Dominic Duval, bass

03 Revealed

From Dual Resonance on Circumvention Label

Peter Kowald, bass
Dana Reason, piano

15 Glass Agitprop

from Dual Resonance on Circumvention Label
Featuring:

Hans Fjellestad, piano/electronics
Jason Robinson, saxophone/electronics
Dana Reason, inside piano/outside piano

18 Dual-Energy X-Ray

I completed this work while an artist-in-residence at HJ Andrews Experimental Station in Oregon. This work is modeled after former HJA resident Leah Wilson's work, Ambient (2014), which hangs on the wall outside the apartment I stayed in at HJA. Andrews researcher Fred Swanson suggested that I create an audio piece based on her approach. Leah had examined and represented the reflections of light and color in and around a small stone placed in the stream. I became excited about this idea of looking at one physical space and taking readings/documentation of the myriad of sonic textures, pitches and combinations that can occur in that one point - and thus making a tangible representation of what might ordinarily seem like a indecipherable stream of noise. Through this work I have thought about the immense musicality of stream acoustics, how we might grow more familiar with each stream site's acoustic details through isolation and repetition. I re-visited Leah's approximate sampling site on Lookout Creek, at the water gage. I placed a Hydrophone in one spot on a flat rock at the stream bottom, and took one 10 second recording every two minutes. From each 10 second sample, I extracted 4 recordings of eighth-note value at set points across samples, and built a loop of each eighth note set. The composition begins with the 1st sample's loop, and moves through each subsequent loop, with sections of overlap between each consecutive pair. I did not effect or process the sounds beyond using an equalizer and adding a touch of reverb. Anthony Brisson did the final mastering of this work.

Panic To Live

killerapps

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