Ron Bucknam Solo Subversion CD

ORG, a sound specific interactive website involving the geography of New York City.

Reviews for The Eighth Nerve:The Wire Magazine November 2006 by Ken HollingsAs a founding member of the New York Society for Acoustic Ecology Edmund Mooney has a clear sense of place working in gallery spaces, collaborating with choreographers and theater groups, and devising sound specific websites. The Eighth Nerve is a sensitive and thoughtful affair. Dreamily deceptive spaces start to open up. Blurred shamanic voices drift, forms tumble and spin while the noises made by an Italian juicer are transformed into deep sonorous humming. Some of the stronger pieces in this collection, such as the tightly focused " To the Click" and the supple "Louder Crickets" were composed to accompany dance pieces...Review by Stephen Fruitman for Sonomu.

Net at 09:24, 28 May 2007http://sonomu.

On the music Steen has offered some of his observations. 01 Timber: this song was actually one of the last ones I composed. I was listening a bit to a Greg Howe tune called Jump start on the record 'introspection', and you can maybe call it a weird paraphrase on that tune (before it got loose!). I call it timber because the stabs in the intro reminded me of a tree falling.

02 The Worm: the composition of this tune is rather not-ostinate-like. One of the reasons is that it is composed and arranged completely without an instrument. It is actually 'written'(with small bars) directly into the key-editor of Cubase. It was one of the first songs I composed and at that time I didn't have a midi-keyboard. 03 Playground: this track was a little yellow-jackets inspired. It is a very simple melodic, very soft and easy going. A fast composition, it almost made it self.

04 Home planet: a melodic little space-pop tune. 05 Run: when I composed this tune it was actually meant to be a Satriani-like tune. I asked a Danish R&B producer (named Ezi cut) to mix it and the result is something-Joe-Satri-R&B-ani-like! I don't think I ever have heard that before! (is that good or bad?). The solo has at the beginning a conventional picking sequence, next a long sweep-picking sequence and after the B-part a long tapping sequence. The sound you hear at the very end, is the drumsticks that are being laid down on the snare drum. 06 Bye: ohh haven't we all tried that?, Can't fall a sleep because of a heartache. A different version of an internationally famous song, in Danish called 'Mester Jacob', nobody knows who composed it, so I guess there's no copyright on that one!! (he-he).

\" - Americana - UK\"The best album of Ashbrook\'s career.

\" - Get Out Mag (Phoenix Tribune)\"A masterpiece.

\" - Portland Tribune. With most records, it's all about the endpoint; Stephen Ashbrook's latest release is all about the journey. The path to White Balloons took Ashbrook through multiple states-and states of mind. At the time of Ashbrook's last studio album, 2002's American B Sides, the singer-songwriter had been a star of the Tempe, Arizona scene, with sold-out shows, major label attention, and even a request from President Clinton for a personal performance. But Ashbrook had grown restless in his environs, and he traded in the dry desert landscape for the vibrant green of the Pacific Northwest.

Immersing himself in the burgeoning Portland, Oregon music scene, Ashbrook distinguished himself from the town's hordes of indie rockers with a unique blend of pop, rock, country and folk, drawing packed crowds to his weekly residency. He slowed his touring schedule after the post-B Sides birth of his first child and used the time to reflect on the changes in his life, channeling those thoughts into songs like 'First Time,' a direct response to his son's birth. When demos of the new tracks made their way into the hands of acclaimed producer and songwriter Pete Droge (a member of songwriting supergroup the Thorns), the beginnings of White Balloons were born.