Mahlen Titan

Reya of Titan is a concept album that tells the futuristic story of a woman who leaves Earth to do asteroid mining only to end up marooned on Titan, the moon of Saturn. The band makes creative use of multiple keyboards, guitars, bass, drums and female vocals to evoke both the human experience of being at the edge of man's domain and the extremes of space. Gekko Projekt influences include 1970s-era prog bands such as Genesis, UK and Yes, with a modern twist. US quartet Gekko Projekt was formed in 2010, and consist of Vance Gloster (keyboards), Peter Matuchniak (guitars), Rick Meadows (bass) and Alan Smith (drums). All four experienced hands with a shared passion for many types of music and with a particular soft spot for progressive rock.

Mode for Titan proves that the bass is a melodic and ambient force in its own right. Writing on — and exclusively for — the bass, Josh Werner explores new dimensions of composition and improvisation, effortlessly moving through varying sonic textures, all without a conventional rhythm section. Producer Bill Laswell helps steer seasoned composer and performer (and abstract painter) Werner through novel instrumental territory, including the sitar bass, seven-string bass and fretless bass. The wide array of influences on Mode for Titan reflects Werner's vast experience and diverse skill set, yet the music maintains an introspective focus and understated minimalist beauty. Laswell's production endows this sonic journey with a vast sense of space, painted in an array of colors as boundless as the producer's own palette.

Francois-Xavier Roth and Les Siècles present a fascinating new interpretation of Mahler's Symphony No.1. It features the first period instrument recording of the 1893-94 version, using a performing edition prepared by musicologists Anna Stoll Knecht and Benjamin Garzia, working in collaboration with Universal Edition. Initially presented as a symphonic poem entitled Titan, the work was met with severe criticism as it developed. This fascinating reconstruction using the composer's Hamburg and Weimar manuscripts testifies to the genius of one of the greatest symphonists of the modern era.

Gustav Mahler was not yet thirty years old when he mounted the podium to conduct his ‘Symphonic Poem’ (Sinfonische Dichtung) in the Large Hall of the Redoute (Vigadó) in Budapest on 20 November 1889. The young man, who had recently been appointed director of the Hungarian capital’s opera house, was presenting an orchestral composition for the first time that evening. This work, which Mahler thought would be ‘child’s play’, was in fact - as he was to admit years later - “one of [his] boldest.” It is the crystallisation of his childhood, marked by the successive deaths of his brothers and sisters but also by the brutality of his father. The work also embodies the dreams that this rebellious young student at the Vienna Conservatory had already forged some ten years earlier, with the new generation of artists and thinkers of which he was a member.