Ambient electronic soundscapes

Details

Contents

#		Title	Length	Sample
1		He Let it Go	5:57
2		Watermelon Sugar	5:30
3		Gossamer Sea	1:57
4		Jealous Entropy No. 1	4:47
5		White China	6:51
6		Hallways & Corridors	8:04
7		Recalcitrant Cello	3:42
8		Recalling 76	4:09
9		Taps	3:24
10		Chorea	7:51

Items may also be purchased individually.

Royalties

See the payment distribution when this media is bought.

Description	Amount
Bitmunk Marketplace Service	USD $0.98
CD Baby Artist Royalty	USD $5.97
CD Baby 9% Digital Distribution Cost	USD $0.54
Bitmunk Download Service	USD $0.60
Bitmunk MicroPayment Service	USD $0.03
Total	USD $8.10

Bitmunk uses a micropayment system that is accurate to 7 monetary digits. Mouse over an individual amount to see its exact value.

Description

Composer Dwight Ashley created solo works for nearly 20 years before his first CD, Discrete Carbon, was issued in 2004. Prior to that project, many came to know him through two collaborations of the early 1990s with fellow Ohio artist Tim Story A Desperate Serenity and Drop.

Although Watermelon Sugar is his most recent solo release, the bulk of the album was actually recorded 15 years prior, during the time the Ashley/Story projects were produced. Those familiar with Serenity and Drop will find in Watermelon Sugar telling overtones of Storys influence during this period while those who know Ashley largely through his solo work of the mid 2000s will get a glimpse into an unseen phase of his career that clearly lays the groundwork for his later solo projects.

The first several tracks on WS have a distinctly dreamy, wistful character that at the outset seem almost too pretty for an Ashley work. In his characteristic fashion, however, the serene note on which the album begins is transformed almost seamlessly into emotional discord at the title track, an aching anthem to distant memories and personal loss.

In the middle of the album, Ashley tips his hand with an earlier version of an Ashley/Story track, Jealous Entropy No. 1. White China, is somewhat of a companion piece to the previously released Poppies for Irene, both of which were products of a series of recording sessions in which he was creating music for his mother-in-law, who was battling terminal cancer.

Ashleys most classically ambient tracks on the album are Remembering 76 (in which some may detect the influence of the Fripp & Eno classic, Evening Star) and Hallways and Corridors, which exhibits the proto-industrial sound palette Ashley featured more than a decade later in his 2006 release, Ataxia. At the opposite end of the spectrum, Ashley includes three quasi-classical tracks, including a spacey threnody he playfully entitled Taps.

For those looking for more of the Ashley/Story sound palette, theyll find it on Watermelon Sugar.