Steve Hacckett

Western Spaces is a collaborative album by the American ambient musicians Steve Roach, Kevin Braheny and Richard Burmer. This album is the first of Steve Roach’s many musical tributes to the Southwestern Desert. This recording conjures up the desert vistas and the vast stark beauty of the American southwest through a collection of pieces that play like a soundtrack to a road trip through the Mojave Desert, Death Valley and Joshua Tree, California. All of these locales were the inspiration for the musicians during the creation of the music.

Prolific ambient innovator Steve Roach teams with Ph.D. shamanic practitioner / musician Mark Seelig to create a long-form piece of space-opening sound magic. Like the many fragrant and beautiful night-blooming plants which are host to mind-altering qualities, this 70-minute experience slowly blooms outwards with Mark’s vocal harmonic and Tuva-style overtoning intertwining within Steve’s zones and “terra” grooves. A slow motion magical blend is created in this nocturnal mist-filled realm. The power of the human voice is drawn forth in a primordial understanding and finds a perfect fusion with subterranean heartbeats, drones and zones swelling from the harmonic soil, gently urging the Nightblooming to increase its potency and allure…

Since its release in 1988, Dreamtime Return has earned its reputation as a genuine classic. The two-CD magnum opus is one of the most important, widely known and highly respected release in Steve Roach’s vast body of work. It serves as an essential benchmark within the Electronic-Ethno-Atmospheric genre.
Roach’s travels in the Australian outback, along with studies of the Aboriginal Dreamtime, and his desert walkabouts in California were the lifeblood for this recording which even today sounds like a transmission from the near future and the very distant past.
Musically Dreamtime Return richly deserves its classic status, but Roach also deserves credit for leading electronic musicians out of their sheltered studios and into an active relationship with the landscape..

The evolution of Elegant Futurism… This is the next highly-anticipated chapter in the Body Electric / Light Fantastic story, except this time it's a new book altogether. This project has gone through several phases in its development over the past two years. Numerous pieces were created and set aside as the artists made new discoveries and continued pushed the envelope further than ever before. Roach and Vir Unis pulled out all the stops to create a music experience that flows with the natural precision of the body's life-blood, by way of a constant enfoldment of hyperstate fractal grooves and luminous soundworlds that are unique to their collaborative spirit.

Emotions quietly stir and resonate in this deeply self-reflective album exploring the terrain between melodic electronic/ambient and modern minimalism. These six pieces utilize gentle melody, harmony and sonic tonality to poignantly reflect upon the passage of time, life lived, lives passed and a time of renewal: a sigh of the ages expressed in sound.
Sigh of Ages is the result of extended periods of solitude and personal reflection for acclaimed composer Roach. Resulting directly from dynamic personal and cultural events, these pieces developed over time and in the moment. After 10 months of early morning and late night sonic meditations, Roach collected these various pieces and found they portrayed a poetic theme of sonic interpretations from this experience…

Reflections in Repose captures the pure essence of Steve Roach's ever-deepening intimate embrace of silence, breath, rich harmonic inventiveness, and shifting liminal states; it's a sound and style completely unique to his electronic/ambient vision. Created over two evenings at the close of 2023, the music was recorded in the same sequenced flow as presented on the two discs’ 116 minutes. The five long-form tracks were performed on a single instrument - the Oberheim OB-X8 - the modern equivalent of the iconic Oberheim OB-8 which Steve used 40 years ago in the making of his classic piece "Structures from Silence.”

Steve Vai played with a wide variety of acts during the '80s – Frank Zappa, David Lee Roth, John Lydon's PIL, and Whitesnake, among others – as he became one of rock's most sought-after hired guns. In addition, Vai launched his own solo career, which come the '90s would be his sole career focus. The 2003 double-disc set Infinite Steve Vai: An Anthology is comprised almost entirely of Vai's solo work (save for a Whitesnake song, "Kitten's Got Claws," and one by the obscure outfit Alcatrazz, "Lighter Shade of Green"). While most "guitar shredders" got a bad rap come the '90s, Vai was always an exception to the rule – there's no secret that Vai was one of the most technically accomplished guitarists in all of rock, but he always knew to put songwriting before soloing (something that most of the other guitarists of the era failed to do), and inject his wacky sense of humor into his playing.