Showing posts with label concerts. Show all posts
Showing posts with label concerts. Show all posts

[S05E02] August 2023 - Kip Rosser (part 2)




In the August 2023 episode of the Theremin 30 podcast, host Rick Reid continues his conversation with Kip Rosser that began in the March 2023 episode. Featured music includes recordings by Tharsis Project, Andrew Levine, Paulo Pascual, and Kip Rosser.

FEATURED MUSIC*

  • "Prototype" - Tharsis Project: Ernesto Mendoza and Jon Carr (Mexico City, Mexico)
  • "Live at Cosmos Lisboa" [excerpt] - Andrew Levine (Hamburg, Germany)
  • Selections from "Negro Púrpura" - Paulo Pascual (Vigo, Spain) 
  • Theme from "Idle Hands are the Devil's Playground" - Kip Rosser (Morrisville, Pennsylvania, USA)

*The full-length recordings featured in this show were used with the knowledge and permission of the artists and composers. Please support the artists by visiting their websites, purchasing their recordings, and attending their performances. 

ADDITIONAL MUSIC

INTERVIEW GUEST

CALENDAR OF THEREMIN EVENTS

MEDIA LINKS

SUPPORT THIS PODCAST

CONTACT

CREDITS 

Copyright 2023 Rick Reid 


--------------------------------------------

TRANSCRIPT

Please note: This transcript was created with the help of speech-to-text AI.  It may contain some errors.

David Brower  00:04

This is "Theremin 30," thirty minutes of theremin music, news, events and interviews, with a new episode about every 30 days. Now, here is your host from Denver, Colorado, USA -- Rick Reid!

Rick Reid  00:19

This is the August 2023 episode of the Theremin 30 podcast and the second episode of season five. I took a bit of a break since the last episode I got caught up in my freelance work projects and some health issues, including some weird problems with my voice. But I'm sounding more like myself now. So if you're ready to listen to me, I believe I'm ready to talk. In this episode, I have Theremin music from Tharsis project Andrew Levine, Paolo Pascual and my interview guest Kip Rosser. I had Kip on the show back in March to talk about the Juliet Shaw legacy project, but you only heard about half of the conversation. So this month, I'm going to play the rest of that interview, as Kip talks about his own musical adventures. 

To get things going. Here is the second single from Tharsis project, a collaboration between John Carr and Ernesto Mendoza, with a track called "Prototype." 

Rick Reid

We started the episode with "Prototype by Tharsis project. After that we heard an exclusive edit from the new live experimental album "Andrew Levine Live in Portugal." This track recorded may 3 of this year at Cosmos in the Campolide neighborhood of Lisbon features Andrew on Theremin and electronics with Jose Bruno Purina on bass, and Ernesto Rodriguez on Viola. The full track and the entire album are available on Bandcamp. Click on Andrew's name in the show notes at Theremin30.com. 

After the break, I've got that Theremin 30 calendar of events and film music from Paulo Pascual. And later in the show I'll visit with Kip Rosser so stay tuned.

Rick Reid

It's time now for a look at the Theremin 30 calendar of Theremin events. On August 3 Andrew Levine joins organist Michael Von Hinsenstern for a classical recital in Bat Berka, Germany. Also on August 3, Marla Goodman celebrates the opening of her Theremin-themed art exhibit in Billings, Montana, with a live performance. Then on August fourth, there will be an artist reception and Theremin demos. To learn more about her wonderful theremin artwork, look for the link in this month's show notes. Both August 15 and August 27 are recognized as the birthday of Professor Leon Theramin. Why two birthdays? Well, it has to do with the Russia switching calendar systems a long, long time ago. But that gives us two days to celebrate. So I'm not complaining. For details about these events and many more, check out the interactive calendar on Theremin30.com. If you have a theremin event you'd like me to list on the calendar, send me a note with all the details. You can reach me with the contact form on the Theremin 30 website. And lately I've been a bit lax about finding events to add to the calendar so do help me out by sending me information about your concerts, workshops and other Theremin-related activities. 

"Negro Purpura" or black purple is a Spanish historical documentary that looks at how hallucinogenic fungus was cultivated by farmers in Galicia. The 2021 film directed by Sabela Iglesias and Adriana Villa Nueva has been playing at festivals in Europe this year. Paolo Pascual of Vigo, Spain, created the music for the film, and he sent me some cues to play on the show. Maybe it isn't obvious, but I don't speak Galician particularly well, so I'll give the English titles. First we'll hear "the magic of fungus" followed by "lights in the River."

Rick Reid

That was music by Paulo Pascual from the soundtrack of the documentary film Negro Purpura or black purple. It's a movie about the history of the hallucinogenic fungus that grows on grain in the Galicia region of Northwest Spain. You can watch the film's trailer featuring Paulo Pascual's music on the Theremin 30 YouTube playlist.

Coming up after this break go visit with American thereminist Kip Rosser, so stay right here. 

Rick Reid

I interviewed Kip Rosser earlier this year about the Juliette Shaw Legacy Project. Because we were talking about Juliette Shaw, I didn't have time in the show to share parts of our conversation about his own career as a thereminist. So I'm going to fix that right now. Kip Rosser. Thanks so much for joining us on that Theremin 30 podcast. 

Kip Rosser  18:04

You're very welcome. Happy to be here.

Rick Reid  18:06

You are involved in theremins in lots of different ways. So give me a little brief introduction of your history of Theremining.

Kip Rosser  18:15

I started playing in 1996. And it was a complete fluke. There was a radio station in East Orange New Jersey called WFMU. At that time, they were wild. You never knew what you were going to hear. And they used to put out a catalog called Weird Stuff every year. One year, I got the catalog. And on the bottom right-hand corner was a little, tiny ad that advertised a theremin kit that you could buy. It was 150 bucks back then. It was by Paia, the Paia Thermax. And I had no idea that Moog was still making theremins, that there was an entire theremin community out there. I just knew what a theremin was. So I bought the kit, put it together. And for seven months that's the theremin that I used. After that I realized I could have bought one put together, and I got a Moog. But it wasn't called Moog at the time. It was called Big Briar. It  was a Big Briar Etherwave. And that was really the transition point. Because playing that instrument was completely different. I had to basically relearn how to play the theremin. It was more stable, it was more accurate, I could get a lot more done with it. So I started in 1996. And from there I just practiced for two years before allowing myself to play in public at all.

Rick Reid

You've played with orchestras and...  

Kip Rosser

I've never played with an orchestra I would love to. That's one of my fantasies. But there are a lot of people who have played with orchestras, but I never have. I've played with live musicians on various occasions. Rarely. There was a time when I had a wonderful jazz and classical pianist that I play with regularly. She and I played for years, but she moved away. I played with a concert pianist from San Francisco and one of my CDs is him and myself in 2005. He and I put on the show at the New York International Film Festival called "The Unholy Secrets of the Theremin." One Sunday afternoon in 2005, while we were on stage Bob Moog died. While I was playing his Etherwave Pro. I never met Bob Moog, but I did speak to him on the telephone one time, and he yelled at me. He yelled at me because it was my first public theremin performance, was done on Cape Cod, and very odd wiring, and the theremin wouldn't function no matter what. So I called Moog Music. And Bob Moog answered the telephone. This was around 1998-1999. And we talked a little bit, and he told me I could get a deep cycle marine cell, which is like a car battery to hook up to a power inverter and power the Theremin off of that, which I did, was very expensive at the time, like $200 for a deep cycle marine cell. And he asked me, "How long have you been playing the Theremin?" I said "two years, and it's my first public performance." And he hit the roof. He started screaming at me that Clara Rockmore and Lydia Kavina practiced six and a half hours a day every day for six years before they dared to play in public." And I couldn't believe that. Bob Moog was yelling at me. That was the only time, my only conversation with him at all. He chewed me out for not going for another four years before coming out to play. I always watched interviews with him. I always wanted to meet him. I wish he could have heard me play. I have no animosity towards him at all for yelling at me. It was just his mood that day. I thought it was hilarious. Bob Moog is laughing at me and yelling at me. It was really funny. 

Rick Reid  21:42

You've done some movie soundtrack work, haven't you?

Kip Rosser  21:45

Lydia Kavina, Charles Lester, a couple of other people have played for film scores out of Hollywood. And I've only done one Theremin score. I wrote the score for an independent film by Michael Jason Allen called "An Idle Mind is the Devil's Playground." You can see it on Prime I believe. You can also see it on Tubi. It's a film that's only about an hour long because he knew he didn't want to try to sustain it for longer. It's in beautiful black and white. The cinematography is amazing. And it's sort of his homage to a Twilight Zone. He found me on ReverbNation and contacted me and asked me if I would be willing to write the score for his film. And I said, Sure. So I did. There was another very, very short film by a director named Sabina Ptasznik. She asked me to write a score for Theremin music is more properly, I would call it sound effects for her movie called Gravity. It was also a filmmaker. Her name at that time was Toddy Burton. It was about a 15 minute film. The film composer contacted me and asked him if I would play the Theremin parts in his score. So I was able to do that as well. Those are the only film experiences that I've ever had.

Rick Reid  22:58

Most people know you from your YouTube videos. Tell people about that, who maybe haven't seen them.

Kip Rosser  23:03

Since 2011, apart from the music videos which I occasionally put up, my real focus was putting up tutorials. Starting in 2011, till just last year, I have made theremin tutorials, which to me was the only thing that I thought was really worth putting up. It felt like a contribution. Playing music, you see tons of theremin videos, people playing music, and there are some wonderfully amazingly talented Thereminists out there now. I would argue that there are more theremin players in the world now than there ever have been, ever. I put up these tutorials because I thought this is what I can really contribute. At the time that I started I never knew that there were things online. When I got the Etherwave, it came with a VHS tape of Lydia Kavina's Mastering the Theremin. It changed a little bit about the way I started playing. But my vision for what I wanted to play was always far exceeding my technical abilities. So when I began learning to try to play Bach and Dvorak and things like that, I had to develop techniques that I've never seen before in order to play them. So the evolution of my techniques is what I put up there. I developed techniques that quite honestly, I've never seen anyone do. I've never seen anyone deal with various aspects of the Theremin. So I decided to put up things that I thought it would really help. But then people started texting me or emailing me about the Theremini and how they were having trouble calibrating it. And that inspired an entire Theremini course. 

Rick Reid  24:43

Do you teach Theremin?

Kip Rosser  24:45

Sure.

Rick Reid  24:46

In person in Pennsylvania or online or...

 

Kip Rosser  24:49

Until COVID I could teach occasionally in person. Then COVID happened.

 

Rick Reid  24:55

So I guess now you're teaching more safely over the web.

 

Kip Rosser  24:59

It was actually my son that inspired me to do it. He asked me how come I've never taught online? And there really wasn't any reason why I couldn't. So I created a website just called ThereminLessons.com. People can go there and book a lesson. You look it up by selecting your date on a calendar, and it takes you to PayPal. I get notification. I always respond personally, and we work it out from there. I'd like to find out what model of theremin people are playing, how long they've been playing, do they play any other instruments. All of it helps me to understand where it is they're at and what types of things that we can work on when we're together. And it's great because you can do a lesson halfway across the world. It's fabulous.

Rick Reid  25:44

Let's finish the show now with some movie music by Kip Rosser. Here is the title theme from An Idle Mind is the Devil's Playground, a 2016 indie feature film directed by Michael Jason Allen.

Rick Reid 

That was Kip Rosser with the theme from An Idle Mind is the Devil's Playground. You can learn more about Kip by following the link in this month's show notes.

Thanks so much for joining me for another 30-minute trip into the ether. And thanks to Tharsis Project, Andrew Levine, Paulo Pascual, and Kip Rosser for providing the tunes. Also, thanks to Kip Rosser for sharing stories about his Theremin adventures. I've already started planning the next episode of the Theremin 30 podcast, but I have some room for more music. So if you have professional quality, original theremin music that's either your own composition or in the Public Domain, I'd love to share it with listeners around the world. So contact me through the website. Also please tell your friends about this show and share links to it on social media. You can also rate and review Theremin 30 on Apple Podcasts and Stitcher to help me get the word out. Until next time, I'm your host Rick Reid and I'll see you in the ether.

David Brower  29:47

You've been listening to the Theremin 30 podcast. Visit Theremin 30 on the web at Theremin30.com.
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[S04E06] January 2023 - Conall Gleeson and Alexx Mazonowicz

 

Alexx Mazonowicz and Conall Gleeson



In the January 2023 episode of the Theremin 30 podcast, host Rick Reid plays theremin music from the USA, France, Mexico, and the United Kingdom. Rick's special guests are Music Director Conall Gleeson (right) and Thereminist/keyboardist Alexx Mazonowicz (left) of the New Note Orchestra. They will be performing in Brighton, England on February 14th.

FEATURED MUSIC*

*The full-length recordings featured in this show were used with the knowledge and permission of the artists and composers. Please support the artists by visiting their websites, purchasing their recordings, and attending their performances. 

ADDITIONAL MUSIC

INTERVIEW GUEST

CALENDAR OF THEREMIN EVENTS

MEDIA LINKS

SUPPORT THIS PODCAST

CONTACT

CREDITS 

Copyright 2023 Rick Reid 


--------------------------------------------

TRANSCRIPT

Please note: This transcript was created with the help of speech-to-text AI.  It may contain some errors.

David Brower  00:04

This is "Theremin 30," thirty minutes of theremin music, news, events, and interviews, with a new episode about every 30 days. Now, here is your host from Denver, Colorado, USA -- Rick Reid.

Rick Reid  00:20

Hey, welcome to the January 2023 episode of the Theremin 30 podcast. I'm your host, Rick Reid, back after taking some time off to concentrate on other projects. I hope you missed me because I have to admit, I did miss you.

This episode is one you won't want to miss, because I have new theremin music from the USA, France, Mexico, and England.  And my special guests are Conall Gleeson and Alexx Mazonowicz from the New Note Orchestra.  They will be playing a concert in the Brighton, England, area on Valentine's Day.

To get things started, I am going to play a song that first appeared on the Octopus Project's 2007 album "Hello, Avalanche." I played it once before, back in September of 2021. This time around, though, it's a new arrangement recorded last April in the Moog Sound Lab in Asheville, North Carolina, to showcase the redesigned Moog Etherwave theremin. Yvonne Lambert plays the Etherwave in the traditional way, and bandmate Toto Miranda uses another Etherwave as a CV controller for a Moog Matriarch synthesizer. Here is The Octopus Project with "I Saw the Bright Shinies."

Rick Reid  08:51

"We started the show with The Octopus Project with their reworking of  "I Saw the Bright Shinies" recorded in the Moog Sound Lab. You can watch their video on the Theremin 30 YouTube playlist. After that, I played a brand new live-looping performance by French multi-instrumentalist and composer Charlotte Dubois. Charlotte performed that piece with a Moog Claravox theremin and a Moog Grandmother synthesizer. You can see her performance on the Theremin 30 YouTube playlist as well. There is a link to the playlist in this month's show notes at Theremin30.com. 

After a short break, I'll be back with the Theremin 30 calendar, some theremin news headlines, and a new recording featuring Ernesto Mendoza. And later in the show, I'll visit with Conall Gleeson and Alexx Mazonowicz from the New Note Orchestra. So, stay tuned!

Rick Reid  09:54

It's time now for a look at the Theremin 30 calendar of theremin events!  

Aleks Schurmer is featured in the soundtrack of the new French-language movie "Mistral Spatial," now playing in theaters in Montreal, Canada.

On January 27th, Yoko Onishi hosts the monthly RCA Theremin evening on YouTube.

On January 28th in New Bedford, Massachusetts, James Bohn will present a lecture and theremin demonstration prior to the Magic of Disney concert by the New Bedford Symphony Orchestra.

On February 8th, Thorwald Jorgensen performs in Montreal, Canada, and About Aphrodite has a concert in Hamburg, Germany.

Over the weekend of February 10th, Dorit Chrysler and Charles Hobbs will present a series of events in Graz, Austria, to celebrate the opening of the "Calder Plays Theremin" art installation.

And on Valentine's Day, the New Note Orchestra will be performing in the town of Hove near Brighton, England. We'll hear more about that later in the show.

For details about these events and more, check out the interactive calendar on Theremin30.com.

I also want to take a moment to share a couple of recent news items with you.

First of all, congratulations to Icelandic recording artist Hekla Magnusdottir for earning Album of the Year honors in the Rekyavik Gravevine music awards.

Also, thereminist Kip Rosser is helping raise awareness and funding for the Juliet Shaw Legacy Project, a campaign to preserve the archives of one of America's earliest professional thereminists. You can find details about the project by following the link in this month's show notes.

Now, let's get back to more music with a very cool new track from "Tharsis Project" featuring Ernesto Mendoza and Jon Carr.  This is called "Time Traveller."

Rick Reid  16:08

That was "Time Traveller," a new recording from "Tharsis Project" featuring Ernesto Mendoza on theremin and synthesizers and Jon Carr on drums. You can learn more about the artists by clicking on their names in this month's show notes.

Coming up after this break, I'll visit with Conall Gleeson and Alexx Mazonowicz from Brighton, England's New Note Orchestra, so stay right here.

Rick Reid  16:57

The New Note Orchestra is an eclectic music ensemble based in Brighton, England, that uses musical collaboration to help people in recovery from addiction. I recently visited with their music director Conall Gleeson and their keyboard and theremin player Alex Mazonavich, to find out how this most unusual charity organization works and how they incorporate the theremin in their live concert performances.

Conall Gleeson  17:02
Yeah, thank you for having us.

Alexx Mazonowicz  17:26
Thanks for inviting. 

Rick Reid  17:28
Conall, you're the music director?

Conall Gleeson  17:30
That's right. I've been working with New Note Orchestra since 2016. And what an amazing journey it has been for me. 

Rick Reid  17:37
And Alexx, you play keyboards and, of course, theremin. 

Alexx Mazonowicz  17:41
Yep, that's right. 

Rick Reid  17:42
What is the New Note Orchestra? 

Conall Gleeson  17:45
Well, New Note Orchestra was set up in 2015. Its focus is to attract people who are in recovery from drugs and substance abuse and using music as a way to sustain their sobriety and their well being. What we do is try to develop those persons as musicians. They've had a whole journey where they self-identified and come to terms with their addiction. People want to move on from that kind of way of self-identifying. And we help them self-identify as musicians, so they come as addicts and become musicians. And that's how we like to see it. 

Rick Reid  18:17
So, Alexx, how did you get involved with the orchestra? 

Alexx Mazonowicz  18:20
I am in recovery. And I have been in recovery for almost 15 years and a couple of months it will be since I had my last drink. I joined in 2020, about a month before we all locked down actually for COVID. It was just after I'd moved to Brighton, but I heard about the group from a friend in another recovery group. Somebody just mentioned to me about the orchestra. And I looked it up online and kind of liked what they were doing. And I listened to some of the music. I was quite impressed by it. And so I just found out where they were practicing. And I turned up one Tuesday in February 2020 With my theremin under my arm just basically where do I plug in? 

Rick Reid  18:34
What was that like to have a thereminist show up? 

Conall Gleeson  19:01
Oh, it was so weird because primarily we've got lot of people play guitars, we've got people doing keyboards, and we also have a multitude of people playing hand chimes. So when a theremin arrived at the door with Alexx I was thinking, well, how are we going to work this one into our sonic ambience? But Alexx has proved to be very versatile and imaginative with his theremin. And it's been a blessing and a wonderful addition to the orchestra. 'Cause it can do two things: it can play melodies, it also can add these strange textures to the sound that we make, you know. So that's really fantastic. 

Rick Reid  19:35
I guess we should define the word orchestra because the New Note Orchestra is not a traditional symphony orchestra. 

Conall Gleeson  19:42
It's called an orchestra because it's quite large in size, a bit larger than an ensemble or a band, though might have 20 to 25 persons so it kind of in size and embodiment constitutes an orchestra. That's where the name originally was come from, but we might call ourselves an electric orchestra. 'Cause we're plugged in, we're amplified. And we're a lot of guitars, we've got some wind instruments. And we've got lots of synths and we've got a theremin, yeah.\ 

Alexx Mazonowicz  20:06
I think orchestra, though, is a good description of the ambition of what we're trying to do. I think if we just called ourselves a group, a lot of people would be expecting a rock group or something like that. Whereas with an orchestra, there's this idea of something big and very long, ambitious pieces, that we did. So, it works for me. 

Conall Gleeson  20:24
Yeah. 

Rick Reid  20:26
I'm curious, from your point of view, Alexx, how you find your place in the orchestra. And I mean that both sort of philosophically as a thereminist, and also practically, where you need space around your instrument to be able to perform it correctly. 

Alexx Mazonowicz  20:34
One of the reasons I joined was because I wanted to play my theremin with a group, right? And I think that's a problem that a lot of thereminists I've spoken to have is that they spend a lot of time practicing at home, maybe playing to backing tracks, or tracks that they recorded themselves. Whereas I used to play electric guitar in alternative bands, and I missed playing with other people. And I've always liked to be a little bit different, right? Why would we choose such a difficult and weird instrument if we didn't like being different? So philosophically, where I like to fit within the group when I'm on theremin is kind of by bringing different textures to it. I play a Claravox now. I've got the delayed circuit on it. And it's got the different settings on it, which are really useful for bringing new textures in. And we do one piece in which people are playing recorders and stuff to emulate birds. And I like to actually break the rules and touch the pitch antenna with my fingers to try and make that chirping sound. Also, the Claravox has the white noise circuit on. I've used the software app to connect the pitch antenna to the filter. The Claravox has got that very beautiful Moog filter on it, to try and create kind of a wind effect. And you put that with some delay. So I can get a lot of textures that way. And that's really interesting, because when I started playing Ttheremin seriously, which was only about five years ago, I wanted to kind of get away from using it as a sound effects machine, which you know there's a little snobbery within the theremin community used for sound effects, which I kind of agree with to a point because when you can get melodies out of it they're very beautiful, but you know, in the orchestra situation, you give what you can, and I'm playing with other people. And sometimes it's really nice to be able to do that. 

Conall Gleeson  20:38
When we perform, we've kind of scripted our pieces. But when we get together, and we're collaborating, we're all improvising, and we're responding to the sounds other instruments make. So in that respect, it's really exciting then, finding how a theremin might blend and to add an interesting texture to a guitar drone, or to get to the theremin to sound like a percussion instrument. When we collaborate or meet every Tuesday, we're exploring these different ways that a stheremin might work with the rest of the orchestra. 

Rick Reid  22:53
I can imagine situations where you have to tell Alexx, you know, we don't really need a theremin in this song. 

Conall Gleeson  23:01
That's part of the flexibility and the genius of Alexx because he can also play the keyboard. It's never a case that we don't need a theremin. But it's often the case that we need someone to do some of the synth work. And then that's where Alexx brings in his expertise as well, because he's so talented. He's got such a wide range of skills, you know. Got to use them all. 

Alexx Mazonowicz  23:19
You flatter, you flatter me so, Conall. Going back to what you were talking about actual space. I think in the early days, I set my theremin up when we rehearsed, actually quite apart from everyone. And I'd be playing and people would come up and go, Oh, what's that? And, you know, obviously, the pitch would suddenly change. On stage it's been okay, I sometimes have to tune the pitch antenna quite tight, just to kind of make sure that nobody else gets into range. But we're a big group, so we have to have big spaces to play in anyway. 

Conall Gleeson  23:54
Ironically, the theremin takes up a lot of space doesn't it? 

Rick Reid  24:00
Also you have to have an amplifier. So how does that work? 

Alexx Mazonowicz  24:04
We've already got people playing bass guitars and electric guitars and we've got like rock drummers in there as well. So generally people are kind of fighting the volume. But Conall does a fantastic job of actually getting people to turn down. For me, learning to sit back a little bit whether I'm playing theremin or keyboards, there's been a really big learning experience. actually learning to step back a bit in the mix. It's been really good. But again, I've got a Claravox so I can always plug some headphones in. I can monitor the pitch on a pitch pedal. And I do have a small practice amp, and I'll use that sometimes at a low volume just to make sure I can hear. 

Rick Reid  24:44
Now you have a show coming up in February called Love Fest. Tell me about that. 

Alexx Mazonowicz  24:50
Love Fest, yeah. Well that's on Valentine's Day and we are playing in a church down the road with a few other artists from Brighton, but it's an alternative love show. So it's not just about romantic love. We're talking about brotherly love. We're talking about lots of different types of love. And we've got some kind of alternative love poems that we're going to be reading over our normal repertoire. But yes, an alternative Valentine's evening. 

Rick Reid  25:18
Thank you very much for taking the time to visit with me and I wish you good luck with the concert coming up. Love is always a good thing. And music is always a good thing. 

Conall Gleeson  25:27
Yeah, thank you. And I love your show. It's great. 

Alexx Mazonowicz  25:30
Yeah, it's fantastic. Thank you very much for everything you do, Rick.

Rick Reid  25:33

If you live in southern England, make a date to see the New Note Orchestra's Love Fest concert on Valentine's Day. Follow the link on the Theremin 30 calendar for details. Also, check out the New Note Orchestra website at newnote.co.uk.

Now with the time remaining, let's listen to an excerpt from a new experimental music piece by Modulight, a collaboration between thereminist Chris Conway and synthesist Jez Creek. From their recently released second album, "Liminal Vision," here is "Primordial Descent."

Rick Reid  29:06

Thank you so much to the Octopus Project, Charlotte Dubois, Tharsis Project, and Modulight for allowing me to share their music with you. Also, a big thanks to Conall Gleeson and Alexx Mazonavich from the New Note Orchestra for visiting with me. And a special thanks goes to the folks who support my efforts with small one-time and monthly donations and by shopping in the Theremin 30 online merch store and pro shop.  

If you'd like to get involved with this podcast, I'm always on the lookout for new, professional quality theremin music to play on the show and expert guests to interview.  So, reach me through the contact form on the website.

Until next time, I'm your host Rick Reid. I'll see you somewhere in the ether.

David Brower  29:50

You've been listening to the "Theremin 30" podcast. Visit Theremin 30 on the web at Theremin30.com.
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[S02E07] October 2020 - Thorwald Jørgensen


The October 2020 episode of the Theremin 30 Podcast features music from Italy, USA, and the UK. Rick's interview guest is classical thereminist Thorwald Jørgensen, who previews his forthcoming album "Air Électrique: Original Music for Theremin and Piano."


▶️ Listen to this episode on your favorite podcast platform.


FEATURED MUSIC*

"Vanishing Point" - Timeless Sonic Factory (Rome, Italy)

"Afterlife Aria" - Divine Hand Ensemble (Philadelphia, PA, USA)

"One of Their Agents" - Simon Beck (London, England, UK)

"Halloween XVI" - Phlogiston Theory (Denver, CO, USA)

*The full-length recordings featured in this show were used with the knowledge and permission of the artists and composers. Please support the artists by visiting their websites, purchasing their recordings, and attending their performances. 


ADDITIONAL MUSIC

"Opera Glasses" - Phlogiston Theory and Ron Allen (Denver, CO / Seattle, WA, USA)

"Time Shadows" - Phlogiston Theory (Denver, CO, USA)

"No Static at All" - Phlogiston Theory (Denver, CO, USA)

Excerpts from the album "Air Électrique" - Thorwald Jørgensen and Kamilla Bystrova

INTERVIEW GUEST

Thorwald Jørgensen previews his new album with pianist Kamilla Bystrova, "Air Électrique: Original Music for Theremin and Piano."


CALENDAR OF THEREMIN EVENTS

Visit the Theremin 30 Calendar of Theremin Events for links and details of events mentioned in this episode. 


MEDIA LINKS

Get a free download of the Laurel Hill Cemetery Walking Tour Score by Divine Hand Ensemble.

The Theremin 30 Playlist on YouTube includes music videos and concert performances of songs featured in this podcast.

SUPPORT THIS PODCAST

CONTACT

CREDITS 


Copyright 2020 Rick Reid 

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TRANSCRIPT

Please note: This is a machine-generated transcript that has not been manually edited. There will be numerous errors. Check back soon for a corrected version.

David Brower  0:04  
This is there have been 3030 minutes of ceremonies, news events and interviews with a new episode about every 30 days. Now here's your host from Denver, Colorado, USA, Rick Reid.

Rick Reid  0:20  
Hey, welcome to Episode 19 of Theremin 30, the more or less monthly podcast devoted to Theremin music. In this October 2020 edition I've got a brand new track from Italy plus some Halloween music and my special guest is Tor wild Juergen son who will give us a sneak preview of his new classical music album that's due out in late November 1 up I've got a new single from timeless Sonic factory. That's the electronic music project of Italian thereminist or Rizzuto man seletti. His new album called vanishing point just came out a few days ago. And here is the title track

Rick Reid  6:12  
That was vanishing point title track of the new album by timeless Sonic factory, it's available to stream and download now in all the usual places.

Rick Reid  6:31  
It's time now for that Theremin 30 calendar of Theremin events. Of course, it's Halloween coming up this weekend so there has to be some Theremin shows in Japan and Moe will be performing at the Coby Big Apple. here in Denver, Colorado, USA the ichiko marching band has several socially distanced hollow mass concerts scheduled between October 30 and November 7. Also on Halloween Dorit Chrysler will lead an afternoon of Theremin workshops in Berlin, Germany few plans to have her new mobe Clara Vox Centennial Theremin set up for students to try out. On November 6 and December 4. band camp will waive its usual fees. So those are great days to purchase music for many of the artists that have been featured on the Theremin 30 podcast. And on November 8, Michelle Moga kusa will lead a virtual tour of the museum focusing on the early history of the big Briar company, you can find links to more information about all of these events on the Theremin 30 calendar at calendar dot Theremin thirty.com more just look for a link on the main page of the Theremin 30 website. And if you have an event you'd like on the calendar, send me the details through the website or the Facebook page. Coming up after the break. I've got some fun Theremin music for Halloween. So stick around.

Rick Reid  8:04  
Can I kind of didn't want to do a full Halloween themed show this year. With the pandemic and everything else going on. It just seems like there's enough scary stuff in the world already. But I couldn't let the holiday pass by completely. So here's a collection of music to put you in the Halloween spirit without getting too spooky. I'll give you the track details at the end of the set.

Rick Reid  17:44  
We started that set with afterlife Aria from divine hand ensemble that's part of a soundtrack to accompany a walking tour of the Laurel Hill Cemetery in Philadelphia. You can get that track as a free download. The link is in this month show notes. Next we heard one of their agents some groovy spy music by Simon back a multi instrumentalist from London, England. And we finished that set with an excerpt from an ambient piece called Halloween 16. It's on my own album titled moth to a flame. After the break, I'll visit with tour while you're concerned. Stay tuned.

Rick Reid  18:49  
Dutch thereminist Torvalds your grandson has a new album coming out in late November. He recently joined me from his home and hope as valuer North rabbits to give us all a sneak preview to our wild Juergen son, thank you for being on Theremin 30

Thorwald Jørgensen  19:04  
You're welcome. Lovely to be there.

Rick Reid  19:06  
So you've been rather busy during the pandemic. You've been recording a new album

Thorwald Jørgensen  19:11  
actually I recorded two new albums and added a movie. On November 20. My first album with original music for Theremin and piano will be released worldwide. So really happy and looking forward to that. And that's called air electric original music for Theremin piano.

Rick Reid  19:27  
Yeah, electric and you're joined by your usual piano partner, Camila strober.

Thorwald Jørgensen  19:32  
Correct. And we decided to do an album now because we both had the time because obviously with the corona situation work was not there anymore. So we just put together repertoire which we loved, rehearsed it and then went to the studio. We were lucky to have a label which wanted to record with us and to release it.

Rick Reid  19:50  
I'm curious about how you recorded were you in the pianist in the same room at the same time performing together or is this a multitrack thing

Thorwald Jørgensen  19:58  
because I play two instruments on one Pease that one is, of course multitrack. But how we did it is just basically as a concert, we record it in a beautiful concert hall in the Netherlands with very good acoustics. And we just had several microphones surrounding us. We just played our music and we recorded it basically live. And of course, we recorded several times. So it's edited together. The best takes are of course, obviously there is like a constant situation. We just played it and it was recorded.

Rick Reid  20:25  
You start the album and actually half the album is 10 preludes for Theremin and piano. How did you find this composition? And why did you choose it?

Thorwald Jørgensen  20:33  
Well, it was given to me by Lera. Auerbach, the composer, I play a lot of her music with orchestra. And I always liked what she wrote. And then all of a sudden, she said to me, Oh, look, I have this piece for Thurman, maybe you're interested in it. And I saw the score and immediately thought, Oh, my God, this is so cool. And I shared it to my pianist, and she had the same reaction. And we worked on it and we performed it several times. And we just fell in love with it, because it's such a good piece and it highlights the chairman as well as the PMO in a very good way, it gives a very good impression of what is possible if you combine both instruments.

Rick Reid  21:20  
The Theremin took on the characteristics reminiscent of the stringed instruments.

Thorwald Jørgensen  21:27  
That obviously is not the Theremin is what I do. I play certain pieces, which I think are this is really like a cello melody, I can imagine how a cello would play it. And then I tried to mimic it with a Theremin. And because this is imprinted so much into my brain, most of the time it goes automatically I don't even think about it. This just happens and it's just the way I play.

Rick Reid  21:53  
The next section of the album is Barry Barry me wind for voice Theremin and piano that's a composition by Joseph schellenger you have the added challenge of performing as a trio with Theremin piano and a wonderful vocalist it sound medicine Chico.

Thorwald Jørgensen  22:21  
When I started playing the Theremin, I was not only interested in Theremin, but also in his history. And for the first three, four years, I was extensively looking in all the archives all around the world for original music. And this was one of the first pieces written for chamber music with an electronic instrument. I think it was written in 1929 or 1930. So it's really besides being good music, a very interesting piece of history.

Rick Reid  22:54  
That track I found interesting and how both you and the vocalist sort of take turns being the center of attention.

Thorwald Jørgensen  23:02  
It really is not a duet, the vocal is the main part because she has the lyrics and the melody. But every now and then determine takes over and has a little cut of the melody. It was my challenge to try to mimic her voice as much as possible. And especially in the end of the piece when she doesn't seem worse anymore. But she seems like the main theme on an M like, it becomes very difficult to hear which one is Theremin and which one is voice. And I really love that part because it's very strange, but it's extremely beautiful. I really love this piece very much.

Rick Reid  23:39  
The one piece on the album that has been reported before is of course sweet for Theremin and piano by Lydia cabinet. She released it in 1999, I believe. And I just can't imagine how challenging it must be to play music that not only has been recorded by the composer, but has been recorded by Lydia cabinet.

Thorwald Jørgensen  23:59  
It's always a challenge to make your own version. And what I did is obviously I know Lydia's recording very well. But for this album, I really did not listen to it at all, because I really wanted to have our version. Obviously the melody and the harmony is the same, but the intention of what we do and the articulation and the phrasing is completely different. And the funny thing with music, if you have one piece of music, you can make it sound like 1000 different ways. And with this particular piece with sweet, we did our version, and I think it turned out pretty well.

Rick Reid  24:46  
On the next piece, we find out a little bit about you that a lot of people don't know that. You're also a percussionist.

Thorwald Jørgensen  24:56  
That's my first Well, I started out as a percussionist. How did

Rick Reid  24:59  
you go From percussion to Theremin,

Thorwald Jørgensen  25:02  
well, I studied classical percussion. percussion, of course, as an instrument group is amazing. You have all the colors in the world and you can do anything. Being in a symphony orchestra is fabulous. It's very cool. But I did it for a very long time. I still do it actually. Although not this year, of course, but as a percussionist in the symphony orchestra, it can be very boring because usually what you do is you sit for the entire Symphony. And if the fourth movement at the last eight bars or the last 20 bars, you stand up and you do boom, chick, boom, chick, boom, Ting, and you're finished. So that was to me, not satisfying, as much as I thought it would be. And I wanted to have more of a solo voice and then more of an expressive voice. And it's not that you're not can be very expressive on the marimba, or on percussion you can, but to me, I wanted something else. And then I heard Clara and fell in love. Not knowing what she played, I just fell in love with her phrasing. Then I found that was the Theremin. And I thought, this is the way to go. And I just opened the door, got in, close it and run as fast as I could with it. And I think it brought me a lot because I think it saved my musical life because otherwise I probably would have stopped making music because I was plainly bored doing it.

Rick Reid  26:15  
Tell me about this piece, fantasy for Theremin, xylophone and piano.

Thorwald Jørgensen  26:19  
That's a piece by Russian composer Valerie balloon. So unfortunately, he died very young. So he didn't have a big repertoire of compositions. But I was fortunate enough to find this composition. And being a percussionist. I was both interested in playing the Thurman and the xylophone part because both parts are very exciting, very challenging and beautiful. And what I liked about it is that it's an extensive Feat. It's not like two or three minutes. It's a long piece that has beautiful melodies. It has beautiful atmospheres, and I just wanted to record both my Theremin and my xylophone. In any case, my percussion is recorded one time professionally as a soloist.

Rick Reid  26:57  
I imagine that having started as a percussionist that you miss hitting things with it, there are many don't even get to touch it.

Thorwald Jørgensen  27:04  
making music is making music. What it is about is phrasing and interpreting and how can you make a piece of sound as best as you can with your own abilities. So if I do it on percussion, or if I do it with Theremin, or if I do it with singing, it doesn't matter. To me, it's the same. I am the instrument and I just have to, for instance, xylophone or Theremin, which I use to express my thoughts and my feelings in a musical way.

Rick Reid  27:31  
Now the last piece I thought was a really beautiful way to wind down the album kind of bring it back to the calmness that you started with Juliet for Theremin and piano

Thorwald Jørgensen  27:49  
After all, this drama, not that this piece doesn't have drama in it because it's also a little bit wild in the middle. We wanted something to cool down and really bring you back to normal life. There's a lot of atmospheres on this album with a lot of information with is really at what we tried to do is to cleanse all of what you heard and just ease

Rick Reid  28:08  
out of the album. How can people go online to find out about your new album air electric, original music for Theremin and piano.

Thorwald Jørgensen  28:17  
You can of course go to my website, which is store with your own sin.com and I do a lot on YouTube, Facebook. And if you just put in my name you will find me because not a lot of people are called Thoreau the organism.

Rick Reid  28:30  
It's easy. And the album comes out on November 20.

Thorwald Jørgensen  28:34  
Correct. It will be released in the Netherlands on the safeer level and worldwide it will be released on Naxos order your CD if you really want to have a physical CD or you can just go to Spotify or iTunes or whatever it will also be there.

Rick Reid  28:46  
Thank you so much for taking the time to visit with me about your new album. I wish you much success with it.

Thorwald Jørgensen  28:51  
Thank you so much. And thank you for having me.

Rick Reid  28:54  
And that's all the time we have for this October 2020 edition of the Theremin 30 podcast. I want to thank timeless Sonic factory divine hand ensemble and Simon Beck for sharing their music. And a big thank you goes to Torvalds jurgenson for letting us be among the first to hear about his new album, air electric. There's a link to his website in the show notes. And I've added a live video performance of one of the songs from the album on the Theremin 30 YouTube playlist. If you've got an original Theremin recording you'd like me to play in the next podcast, contact me through the Facebook page or the website. And if you enjoyed the show, please share it with your friends. Purchase music from the featured artists and support the sponsors that help keep this podcast in the ether. Until next time, I'm your host Rick Reid, stay safe, wear a mask and try to keep other people out of your control zone.

David Brower  29:50  
You've been listening to the Theremin 30 podcast visit Theremin 30 on the web at Theremin three zero.com

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[S02E04] July 2020 - Stephen Hamm


The July 2020 episode of the Theremin 30 podcast features music from Peru, Colombia, Australia, and Italy. Rick Reid's interview guest is Stephen Hamm "The Theremin Man."


 FEATURED MUSIC*

"Voraz" - Kozmik Cafe (Lima, Peru)
"Children of London" - AmaNRouge (Bogota, Colombia)
"Speaking in Tongues" - Miles Brown (Melbourne, Victoria, Australia)
"Atmospheres for Empty Cities" - Unreal Project (Teramo, Italy)

*The full-length recordings featured in this show were used with the knowledge and permission of the artists and composers. Please support the artists by visiting their websites, purchasing their recordings, and attending their performances.

ADDITIONAL MUSIC

"Opera Glasses" - Phlogiston Theory (Rick Reid) (Denver, CO, USA) and Ron Allen (Seattle, WA, USA)
"Time Shadows" - Phlogiston Theory (Rick Reid) (Denver, CO, USA)
"No Static at All" - Phlogiston Theory (Rick Reid) (Denver, CO, USA)

INTERVIEW

Stephen Hamm "The Theremin Man" is hosting Sunday night theremin meditation sessions on Facebook and YouTube.

CALENDAR OF THEREMIN EVENTS

Visit the Theremin 30 Calendar of Theremin Events for links and details of events mentioned in this episode.

MEDIA LINKS

The Theremin 30 Playlist on YouTube includes music videos and concert performances of songs featured in this podcast.

CONTACT

CREDITS 

Copyright 2020 Rick Reid

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TRANSCRIPT

Please note: This is a machine-generated transcript that has not been manually edited. There will be numerous errors. Check back soon for a corrected version.

David Brower  0:04  
This is there have been 3030 minutes of pheromones, news, news events and interviews with a new episode about every 30 days. Now, here's your host from Denver, Colorado, USA, Rick Reid.

Rick Reid  0:18  
Well, hello, welcome to Theremin 30 the world's only monthly Theremin podcast as far as I know, with most of the planet Earth under some sort of pandemic lockdown right now. I hope that Theremin 30 podcast is helping you to discover some new music and to stay connected with the larger Theremin family. On this episode, I have new music from Australia, Colombia, Peru and Italy. And my interview guest is Canadian thereminist Stephen ham. He'll tell us about the Theremin meditation sessions. He has been video streaming from his home in Vancouver BC. Let's get started now with a couple of tracks from South America beginning with the current single from Lima, Peru bass duo cosmic cafe featuring veronik on Theremin and vocals and Dante Gonzalez on synths and drum machines. This track is called the voraus which Google tells me translates to English as a voracious.

Rick Reid  8:51  
we began the show with forez by cosmic cafe. That song came out in April of this year and they just released remixed and extended versions a few weeks ago. You can get them on Bandcamp after that, we heard a brand new single called children of London by Bogota, Colombia based recording artists on Mon rouge if features if they're Imogen, Theremin, and one Alejandro Ramos on violin. To learn more about cosmic cafe and Amman Rouge. Click on their names and this month show notes at Theremin thirty.com. Coming up after the break, we'll take a look at the calendar of Theremin events and l spin the current single from Australian thereminist Miles Brown. So stay tuned.

Rick Reid  9:44  
Now it's time to take a look at the Theremin 13 calendar of Theremin events. On July 12, the eclectic electrics festival was streaming pre recorded performance by door at Chrysler. On July 15, Dr. G will livestream his Science Time with Dr. g. Educational concert for kids. On July 18, Beethoven will be performing live at Lew Hall in Wakayama, Japan. Also on the 18th. The avant garde a duo 16 millimeter will perform in Boone Laval park in Santiago, Spain. On the 25th pamelia, Stickney will be performing live in Vienna, Austria, with a simultaneous stream on the web. And over the last four days of July, Peter Theremin will be teaching an online masterclass. Of course, August is the birth month of Leon Theremin. So if you're planning an event in his honor, be sure to send me the details and I'll add it to the calendar. You can check out the calendar anytime by going to calendar dot Theremin thirty.com.

Rick Reid  10:52  
Up next, it's the first Australian recording artists to be featured on the Theremin 30 podcast. Myles brown records both as a solo artist and with his band called The night terrors. He has studied Theremin technique with both Lydia cabina and Karolina Ike. His current solo album is called the gateway and this track is titled speaking in tongues.

Rick Reid  17:15  
That was speaking in tongues by miles brown from his current album The Gateway, he recently produced a really cool music video for that track and I've added it to the Theremin 30 playlist on YouTube, so be sure to take a look. Up next we'll mellow things out a bit and learn about Theremin meditation with my interview guests Stephen ham. So stay tuned.

Rick Reid  18:08  
Stephen ham the Theremin man recently launched a weekly video streaming series of Theremin music meditation sessions. He was kind enough to discuss this very timely stress reducing project with me a few days ago from his home in Vancouver, British Columbia. Stephen ham, thank you so much for being part of the Theremin 30 podcast.

Stephen Hamm  18:28  
Thanks for having me, Rick,

Rick Reid  18:30  
a lot of musicians because of the pandemic don't have many opportunities to perform for an audience. But you found an interesting way around that

Stephen Hamm  18:37  
I have every Sunday night at 8pm pacific time I have been doing a half hour Theremin meditation I call it which is basically me improvising on the theramin to pre recorded backing tracks and helping people to hopefully relax and have a chill Sunday evening in these rather stressful times.

Rick Reid  19:01  
The word meditation brings up thoughts about religion and spirituality is that part of what you're doing?

Stephen Hamm  19:06  
One friend of mine told me years ago that and we were having some drinks at the time he said when you start to get a little bit older, you either have to have kids, or you have to find Buddhism. And he had kids and I didn't. So I don't know if I became a Buddhist I consider myself an armchair Buddhist. But definitely I think that as we progress through this life, our minds can become more and more cluttered. And so you need to get into some sort of practice to maintain some Saturday or some direction. I've practiced meditation for the last 15 years. And I've found it to be really helpful in calming my nervous system, helping me respond better to the world at large. It's not really a spiritual practice. For me it is to a point obviously I consider myself a spiritual being and that ties in to why I was attracted to the Theremin in the first place, because there's definitely something otherworldly about the Theremin. And combining the Theremin along with meditation seemed like a no brainer to me. I know other people have done it in the past. But when the pandemic hit, this is where I was led to. So that's what I've been doing for the last three months every Sunday night on Facebook, and starting this week, I am going to do it on YouTube as well.

Rick Reid  20:27  
When I've done meditation, I've mostly done the type where you just focus on your breathing. How does meditation with music change the whole meditation process?

Stephen Hamm  20:36  
I have also done mindfulness are watching the breath meditation. For me as the performer doing meditation on the Theremin, I find that I get into a place of flow. Music has always done that for me. So by doing a 10 minute improvisation, that's usually fairly in one key, it's a droning thing, I find it helps me to block out all thoughts that clutter my mind. And I hope that is happening for the listener as well.

Rick Reid  21:08  
How does meditating as a group activity figure into what you're doing?

Stephen Hamm  21:12  
This has always been something that's been in the back of my head to do something like this, because I usually do a show that involves a Theremin. And it's a live presentation. And I had a whole bunch of shows booked before the pandemic and all sudden, they all started to get canceled. And as we started to go into lockdown, I was like, how do I keep playing? How do I keep my skills sharp? How do I maybe brings Relief to People I have had people comment on the meditations during the performances and leave messages with me afterwards. And they tell me that they seem to help that people are starting to look forward to my Sunday night meditations. But it helps them ground that it gives them a little break before they start yet another stressful week.

Rick Reid  21:59  
You're in Vancouver, Canada, are you locked up alone in your home there or other people there with you while you're streaming your show?

Stephen Hamm  22:08  
I live in a what I call the celestial grotto here in Vancouver, which is a one bedroom apartment. I live by myself. I do work outside of the home still. But I have something I have a touchstone every Sunday night where I can come and do my performance. And I go through a whole process getting ready, I set up the lights, I set up the audio. I do a quick little meditation myself, you know, like any performer, you'd have a routine where you prepare for performance. And this is a whole new thing for me doing it with no instantaneous feedback like you get when you play in a live situation. So it's been interesting and really rewarding as well.

Rick Reid  22:48  
Do you know where some of your viewers are located around the world,

Stephen Hamm  22:51  
it's mostly seems to be local folks. Although I have people in Toronto, I've had people from New York and a couple of Europeans as well. People do like the idea that they're other people around the North American continent all sitting down and one friend of mine said, you know, all I do is I lay down on the floor and I close my eyes and I just relax and I listened to you. I had another woman last week send a video of her cat sitting on the window sill of her apartment while they listened to the meditation and the cat's ears were picked up and responding to the sounds of the Theremin. So that was really great. I mean, I think it's a bit of an interspecies meditation.

Stephen Hamm  23:34  
I think there is a certain something about people knowing that they're isolated with their families or by themselves in their apartments or their homes. But we're all together at the same time. You know, and people do chat a bit on Facebook. So it's a way to bring people together, which is why I play music in the first place. So and I also still want to have fun you know, I think that's very important. Especially times like now and we're looking at you know, maybe the collapse of the entertainment industry or live in news I mean, when's it going to go back to normal so these are all things that are forefront and a lot of my friends minds and can be something for myself that I can get wrapped up and really think there's no way out of this predicament we're in today. But I if I just focus on, you know what I can do and how I can I can help people have fun. You know, it's important to me It always has been I think people have fun watching my performance. I had a friend tell me that why he watches he watches to see when I screw up because that's for him. That's the most entertaining and see how

Rick Reid  24:41  
some friend you've got.

Stephen Hamm  24:45  
So yeah, I definitely have a sense of humor about everything I do, I think one has to

Rick Reid  24:49  
and finally remind us again how people can find it and participate in your Theremin meditation program.

Stephen Hamm  24:55  
You can go to Theremin man.com which is my website. Also Stephen ham.ca they both lead you to my website. That's te ph n. Ham, h A m m there's two AMS and magic as I like to say that has links to the my Facebook page there. You can also go to Stephen ham Theremin man on Facebook on the live page there my meditations are available to view and that's every Sunday night at 8pm pacific standard time on Facebook and YouTube Stephen ham Theremin then

Rick Reid  25:30  
to learn more about Stephen Hammond is Theremin meditation project to click on the link in this month's show notes.

Rick Reid  25:42  
To wrap up this episode now let's hear the evocative and darkly cinematic music of the Unreal project from Toronto, Italy. This track is called atmospheres for empty cities.

Rick Reid  29:16  
It looks like the sand is about to run out of my half hour glass and I want to thank cosmic cafe I'm on rouge Miles Brown and Unreal project kindly allowing me to play their music in the show. I also want to thank Stephen ham for being my interview guests telling us all about the room in meditation. If you have Theremin music you'd like me to play in the show contact me through the Theremin 30 website or the Facebook page. Until next time, I'm your host Rick Reid. Remember to wear a mask in public and try to keep other people out of your control zone.

David Brower  29:50  
You've been listening to the Theremin 30 podcast visit Theremin 30 on the web at Theremin threezero.com

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