Acoustic track / Guitar recording, mixing and mastering

King crimson - Starless (Acoustic cover)

SIGNALS is out now! Purchase here: https://dancaine.bandcamp.com/album/signals

We live in challenging times, and it is easy to become overwhelmed and lose our sense of direction in life. Things are changing in a way we have never encountered before. But change always signals a perfect opportunity for growth, either on a personal or a collective level.

Signals, the latest album from Dan Caine, takes us on a powerful journey through our thoughts and feelings, and explores the depths of the human psyche. By allowing ourselves to fully experience the emotions that each track evokes, we can perhaps find a renewed sense of direction, and realise that we have the inner strength to navigate the storm and emerge on the other side, transformed and empowered. 

Signals is here to guide us through the ebb and flow of life’s challenges, and accompany us as we boldly march forward into a better future.

More music from Dan Caine:

Listen on Spotify: https://tinyurl.com/3ew28wez
Listen on Bandcamp: https://dancaine.bandcamp.com/music
Also available on most other streaming services.

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Follow Dan Caine: 
▶ Facebook: https://www.facebook.com/dancainemusic/ 
▶ Instagram: https://www.instagram.com/dancainemusic 
▶ Youtube: https://www.youtube.com/c/DanCaine/ 
▶ Spotify: https://tinyurl.com/v48235au 
▶ Twitter: https://www.twitter.com/dancainemusic 
▶  Website: https://www.dancainemusic.com

We Will Get Through This

Project_10_2 edit_5 +200 140

Ambient Clutter (03-11-2025)

Remix from the Song Do from Nils Frahm 
more infos here http://reworked.nilsfrahm.com/

Nils Frahm - Do (Databoy78 Rework)

spotify URI: spotify:album:3xfKWoVVv1IXMnyzShgIl3

spotify URL: https://open.spotify.com/album/3xfKWoVVv1IXMnyzShgIl3



05 Dirk Maassen - Onda, out on Spotify.....

Once In A While, from Joseph L Young's 2018 album "Every Moment," "features a chill-out beat more prominently, but new age melodicism is present as well. How he manages to fuse these two elements, not to mention the innate jazziness of the sax, and craft music so suffused with both beauty and catchiness is so damned impressive."  (Bill Binkelman, Zone Music Reporter) "The movement of musical time is so very evident here, the refrain of Young's sax is so imploring and emotive, and will make this, with its many nuances, a must to return to piece again and again." (Steve Sheppard, One World Music)

Composed, performed, produced and recorded by Joseph L Young
Mastered by Andy Mitran, Mitran Studios, Chicago
Album cover art ©2018 Joseph L Young
©2018 Joseph L Young ASCAP
℗ Joseph Lee Young ASCAP
All Rights Reserved
Website: www.josephlyoung.com
Soundcloud: @joseph-l-young
YouTube: www.youtube.com/user/xwaveform
Bandcamp: josephlyoung.bandcamp.com
iTunes: itunes.apple.com/us/artist/joseph…young/id30940193
Facebook: www.facebook.com/JosephLeeYoung

Every Moment

Once In A While

https://ftmots.bandcamp.com/album/sleep-stations

From the Mouth of the Sun (aka Aaron Martin & Dag Rosenqvist) return with ‘Sleep Stations,’ an EP of six new songs, out May 18th, 2018 on Lost Tribe Sound. ’Sleep Stations’ rests comfortably alongside 2017’s ‘Hymn Binding’ their third full-length album and their original score for Joshua Z. Weinstein’s feature film, ‘Menashe.’ With ‘Sleep Stations’ the duo assures us that their exquisite palette of classical leaning, electro-acoustics reaped from their previous albums still leaves much to be explored.

In fact, the pieces of ‘Sleep Stations’ were composed during many of the same sessions as ‘Hymn Binding’ and ‘Menashe,’ yet they feel like a natural continuation of From the Mouth of the Sun’s sound, a stepping stone towards the next chapter, if you will. The core sound will be instantly recognizable for those who’ve followed their previous endeavors, comprised of cello, piano, acoustic guitars, lap steel, banjo, ukulele, pump organ, soft humming electronics and warm layer of static.

The title track ‘Sleep Stations’ was originally meant to be included on the album ‘Hymn Binding.’ It acted as a centerpiece and starting point for the music that From the Mouth of the Sun recorded later during the process of scoring the ‘Menashe’ film. The film ended up requiring an extremely spare palette, thus the ‘Sleep Stations’ EP represents a longing for a fuller and more controlled sound that exhibits the dynamic range that From the Mouth of the Sun strive for with their work.

There is a softness and detachment to ‘Sleep Stations’ more so, that seems to give the album an of aerial view of the landscape below. Where ‘Hymn Binding’ felt more grounded in the earth and soil, ‘Sleep Stations’ floats high above, feeling weightless, suspended in slow motion flight.

Arranging ‘Sleep Stations’ as an EP, has allowed Aaron and Dag to tell a shorter story, one that doesn’t have to be such a grand gesture, which is something they’ve wanted to explore for a while now. It’s a beautiful reminder, that a collection of music can still be simple yet deeply affecting, without being overwrought and excessive.
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CASSETTE DETAILS
‘Sleep Stations,’ our 3rd installment in the Dead West Tape Series, arrives on a limited pro-dubbed hi-bias tape cassette, housed in a reverse printed 300gsm heavy stock outer case. The edition (limited to 100) also comes with a download card offering a choice of formats including FLAC, 320K MP3, etc. Mastering was performed by Matthew Collings (aka one half of the duo Graveyard Tapes).
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DEAD WEST TAPE SERIES
Dead West is a series of limited cassette tape releases from the Lost Tribe Sound record label, inspired by the relocation of the LTS headquarters from the dry desert of Arizona to the lowland plains of Wisconsin’s farm country. The Dead West focuses on music built for exploring and soundtracking your environment, whether you're deep in the middle of lush woodlands, or just laying back at home with rested eyes. ‘Sleep Stations’ is the third release in the series. The first two releases in the series come from the composer William Ryan Fritch (Ill Tides) and experimental guitarist Seabuckthorn (I Could See The Smoke).
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credits
releases May 18, 2018

Music & Arrangements by Dag Rosenqvist & Aaron Martin
Mastering by Matthew Collings
Cover Image: NASA/JPL/U of Arizona
Layout & Design by Ryan Keane
© Dag Rosenqvist / Aaron Martin / Lost Tribe Sound LLC
Published by Settled Scores LLC (ASCAP) 2018

About the Death of Stars

Listen / Purchase: https://lnk.to/mscars

Meander scars are geological features formed by the remnants of winding or meandering water channels. They are caused by the varying velocities of current within the river channel.

Lost Tribe Sound's second installment in its 8 album subscription series, 'We Stayed The Path That Fell To Shadow' comes courtesy of friend, musician and talented music writer, Gavin Miller. While his name may not be instantly recognizable to some, Gavin has been creating music for nearly a decade as one half of the sublime electronic ambient duo, Worriedaboutsatan, and has quite a few solo releases under his belt. In addition, Gavin has been a invaluable force in bringing many overlooked musical acts to the forefront through his brilliant writings for the UK publication, Drowned in Sound. 

'Meander Scars', Gavin's new double album is very much a departure from his previous output. While the use of acoustics has always resided in the backdrop on many of his solo and group efforts, it's plain to hear that with 'Meander Scars' these natural elements have risen to the top. Lost Tribe Sound is the ideal home for a Gavin Miller this delicate and organic. 

The aerial visuals formed by meander scarring and the origins of their creation, fit both the artwork and the vibe of music incredibly well. The long-form compositions were constructed from a series of slow churning rhythmic guitar loops, warm noise, soft synths and distant choirs which build over time into colliding patterns of pastoral bliss. Patient and mindful listening is key for these innocuous sounds to begin to carve their saturated pathways through the mind. Much like a river meandering over thousands of years, slowly dragging away the sediment and scaring the surrounding land, these pieces begin to take form, eroding away the malleable earth, letting gravity take hold to travel the course of least resistance.  

Being the ever curious and meddling types here at LTS, we engaged multi-instrumentalist and label mate Aaron Martin (From the Mouth of the Sun) to utilize his gorgeous cello sounds and other odd bits in his musical arsenal to fill out moments in the songs. Graciously, Aaron joined in, adding trembling washes of strings, chimes and other indiscernible noise to Gavin's compositions. Gavin than revisited his original material, carefully layering and balancing in the new instrumentation from Aaron. 

Excited by the results, Gavin shared them with us, and it was undeniable that Aaron's arrangements had created deep new conduits for the ears to follow. Yet, it wasn't until this moment that we fully appreciated the beauty of the original works. Torn by which versions to present as the final album, we realized why not present them both.  

Each version had a seemingly different affect on our conscious. The 'Upper Course' with Aaron Martin's additions, flows very much like a young river, faster, more active and commands the listener to be more attentive. Whereas, the original source material of 'Lower Course' mimics the behavior of an older river, slow flowing, in moments coming to a crawl. It's no longer the force able to move large boulders from its path. Yet in its stripped down form, it allows the listener to more easily traverse its tame currents, becoming the perfect cyclical backdrop needed for writing, drawing, and a multitude of other tasks requiring increased mental faculties.

Meander Scars

Upper Course I

Buy Album

Gavin Miller - Upper Course I (feat. Aaron Martin)(from Meander Scars)

A selection of music from the 3D planetarium Full Dome show "CAPCOMGO! The Apollo Story". Music written by Rhian Sheehan. Showing in Planetariums around the world now. Produced by UK's National Space Centre Creative team, it's an immersive, historical documentary that showcases the achievements of the Apollo program and what it took to put the first human on the Moon.
nsccreative.com/projects/capcom-go/
www.rhiansheehan.com

CapCom Go! The Apollo Story -  Apollo Suite (original score)

an improvised new age trackon assorted synths and keyboards.
Released with New Age Music Garden Recordings

Life is a River

Beck

Downloads

Spa Music

Composer from Wellington, New Zealand www.rhiansheehan.com

http://rhiansheehan.bandcamp.com/

Rhian Sheehan is an award-winning music producer and screen composer from New Zealand. Known for his fusion of atmospheric-post-rock with electronic and chamber music, he has released 6 albums and 2 EP’s on Loop Recordings (NZ/Aus), Darla (US), Preco (Japan). His 2013 release Stories From Elsewhere has received much praise; renowned US reviewer John Diliberto (Echoes) calling it “a modern ambient chamber music masterpiece of quietly epic dimensions". His 2018 album, A Quiet Divide, is his most orchestral album to date, merging chamber strings & piano, with emotionally charged cinematic post-rock atmospheres. Releasing the album alongside a 6 date audiovisual live tour around New Zealand, the album reached no.2 on the NZ Top 20.
"A Quiet Divide is an album that swallows you whole, and sends you out the other side a lighter, calmer version of yourself." - Sunday Star Times
His work as a screen composer is diverse, actively writing scores for a wide variety of film, television, documentary, advertising, multi-media exhibits, and 360o Fulldome Planetarium dome show projects around the world, having worked on projects featuring luminaries Andy Serkis, David Tennant, Tim Allen, Martin Scorsese, Rupert Grint, and Jared Leto.  He has written music featured on many notable TV shows and channels, including Top Gear (UK), the hit HBO series Silicon Valley, BBC Horizon, CNN, National Geographic Channel, Discovery Channel, History Channel, Netflix, America's Got Talent, and has written music featured during The US Super Bowl, and The Academy Awards.
Sheehan has composed music for various multimedia installations and exhibits around the world, including UK's National Space Centre, The Kennedy Space Center, London’s Natural History Museum, Ferrari World, World of WearableArt, and Weta Workshop. His score for the 12-part prime-time series The Cult won him a Qantas Film & TV Award (Best original music in a TV series), and he also wrote the score for the Emmy Award winning series Reservoir Hill. Sheehan’s music was used extensively during NBC’s prime-time coverage of the 2012 London Olympics, and he has written music featured in a variety of commercials, including spots for Google, Nike, GoPro, American Express, Sony Pictures, Universal Pictures, and Facebook. He has written for Hans Zimmer's custom music company Bleeding Fingers and Extreme Music. Sheehan has scored music for the acclaimed films Belief: The possession of Janet Moses and Stray, and more recently scored the mixed-reality AR steampunk inspired robot shooting game, Dr. Grordbort Invaders, produced by Magic Leap & Weta Workshop (Peter Jackson & Richard Taylor's award-winning special effects and prop company).
He has written scores for numerous UK and US produced 360o Fulldome 3D Planetarium shows, most notably, We Are Astronomers, We Are Aliens, We Are Stars (for which he was awarded Best Original Score at the Fiske Planetarium Awards), and Back To The Moon For Good, which was produced by Google XPRIZE, the UK National Space Centre, and Robert K. Weiss (producer of The Blues Brothers). Narrated by Tim Allen (Toy Story), Back To The Moon For Good is one of the most popular and watched Planetarium Dome shows ever made; having screened in over 450 Planetariums around the world.