Steve Brand – The Path of the HeartrM_0057
Steve Brand – The Path of the Heart
May 2016

"This music reflects my realization that I often feel that my entire life has been a journey to and of the heart, my heart, my core..."

Kloob – Solid FoundationsrM_0056
Kloob – Solid Foundations
February 2016

A sonic journey featuring metaphysics, attraction, emotions management, extraterrestrial life, astral projection and personal development.

Anguaji Music – Trigger, HappyrM_0055
Anguaji Music – Trigger, Happy
October 2015

A joyful jumble of up-and-down musical sketches to stir your imagination.

Massergy – A Novel Sense of CalmrM_0054
Massergy – A Novel Sense of Calm
September 2015

Beautiful ambient music to help on the greatest journey of all.

Markus Reuter & Zero Ohms  From Worlds Unseen A Light Yet Streams A Sound RepleterM_0053
Markus Reuter & Zero Ohms – From Worlds Unseen...
August 2015

Sparse melodic drone-based soundscapes and warm, ethereal spacemusic

Chris Russell - BlurrM_0052
Chris Russell - Blur
July 2015

Blur, an album created slightly out of focus.

Roy Mattson – MesmerrM_0051
Roy Mattson – Mesmer
May 2015

Hints of tribal and ethno-ambient music mixed with a strong dose of psychedelia.

SiJ – PlaentagoserM_0050
SiJ – Plaentagose
April 2015

A suite of sparsely decorated vignettes / postcards of moments on a long stretch of highway.

Numina – Through the Gate to NowhererM_0049
Numina – Through the Gate to Nowhere
March 2015

A sonic journey influenced by many events and emotion.

Steve Brand and Ran Kirlian – The Uncarved BlockrMEp_0002
Steve Brand and Ran Kirlian – The Uncarved Block
March 2015

Journey back to our natural state of being before cultural conditioning takes place.

Kloob – Deep Emotional PhasesrM_0048
Kloob – Deep Emotional Phases
February 2015

Elegance and darkness are successfully combined to create tracks that evoke subtlety and strong feelings at the same time.

Steve Brand – Into The Currentpl0020
Steve Brand – Into The Current
February 2015

Steve Brand's document of, and tribute to, his experience at Steve Roach's "SoundCurrent Master's Class"

åpne sinn – Worlds ApartrMEp_0001
åpne sinn – Worlds Apart
January 2015

"between two worlds life hovers like a star, twixt night and morn, upon the horizon’s edge." – byron

Frore - Cyclic MovementrM_0047
Frore - Cyclic Movement
January 2015

Ambient journeys synced to the cycles and rhythms of the universe.

Andrew Lahiff - Slow Paths BeyondrM_0044
Andrew Lahiff - Slow Paths Beyond
November 2014

A story that began evolving in January 2013.

Steve Brand – The Space BetweenrM_0046
Steve Brand – The Space Between
October 2014

Past events, loved ones, even the resources we need from all our pasts and futures are there waiting for us…in still, quiet moments.

Seren Ffordd – Fractured III – ShardsrM_0045
Seren Ffordd – Fractured III – Shards
August 2014

Shards is the third album in a trilogy titled Fractured.

Chris Russell – IlluminoidrM_0043
Chris Russell – Illuminoid
July 2014

Illuminoid is a journey into the realm of the spirit.

Steve Brand and Roy Mattson - MeltstreamrM_0042
Steve Brand, Roy Mattson - Meltstream
May 2014

Amazing beatless ambient. Roy and Steve both have a strong affinity with nature, especially the mountains, and this music grew out of those moments, immersed in nature…and sound.

Robert  Scott Thompson - ArcanarM_0039
Robert Scott Thompson - Arcana
April 2014

A carefully crafted, subtly nuanced ambient album. Languidly drifting textures, prepared piano, and an array of synthesized and acoustic sounds make this a rewarding listen.

Arbee & Specta Ciera – Elemental GatheringrM_0041
Arbee & Specta Ciera – Elemental Gathering
March 2014

Delving into techno, drone, experimental, dub and more - Arbee & Specta Ciere's debut on rM will move you.

Steve Brand – Because We Were Once Covered in Goldpl0011
Steve Brand – Because We Were Once Covered in Gold
February 2014

Re-working of 2009 release, fascinating and exceptionally detailed, full of subtlety and delicious sonic twists and turns.

Relaxed Machinery Artists - reBOOTrM_0040
Relaxed Machinery Artists - reBOOT
January 2014

17 tracks, 2.25 hours of new music from some of the best names in the industry.

Steve Brand - Over-soulpl0015
Steve Brand - Over-soul
November 2013

61 minute long form piece, divided into three seamless expanses of driftscape, created entirely with keyboards and medicine drum.

Chronotope Project - Event HorizonrM_0033
Chronotope Project - Event Horizon
October 2013

An earthy foundation of sustained drones and rich chordal soundbeds, flowing watery melodies, the scintillating sparkle of fiery sequences.

Steve Brand  - She Covers The Skypl0014
Steve Brand - She Covers The Sky
September 2013

Re-imagining, re-working, re-mastering of the 2009 release, now with two new tracks.

Zero Ohms - 369rM_0036
Zero Ohms - 369
July 2013

A journey of what seems to be an unending ascension of shifting drones and wind-synth chords which take you to the very edge of space and beyond.

Steve Brand – The Great HooprM_0038
Steve Brand – The Great Hoop
June 2013

Music inspired by Native American cultures, their history and pre-history, the spaces, colors, flora and fauna, and wide variety of landscapes of the American Plains.

Relaxed Machinery Artists – Butterfly EffectsrM_0034
Relaxed Machinery Artists – Butterfly Effects
May 2013

An album comprising remixes of material from several James Johnson albums.

Frore - ShadowlandsrM_0035
Frore - Shadowlands
March 2013

Frore's first album on Relaxed Machinery. Hints of tribal and modern ambient take you on a thought provoking journey.

Steve Brand – Bridge to Nowherepl0010
Steve Brand – Bridge to Nowhere
February 2013

Bridge to Nowhere is a spacious, slow-breathing exploration of a meditative state, and nowhere in Brand’s work is the ritualistic element more present than in this case

Chris Russell - PortalrM_0037
Chris Russell - Portal
February 2013

Other worlds, other dimensions and glimpses behind the veil.

Steve Brand - Our True NaturerM_0029
Steve Brand - Our True Nature
December 2012

A soundtrack for hope, growth and expanded ways of being.

Chronotope Project – ChrysalisrM_0032
Chronotope Project – Chrysalis
November 2012

Deep ambient textures infused with gentle rhythm and soulful melody -- introspective soundscapes to relax the mind and gladden the spirit.

Broken Harbour – The Geometry Of ShadowsrM_0031
Broken Harbour – The Geometry Of Shadows
October 2012

Light and shadow, past and future, distance and time, informed the creative process and inspiration of this album.

Steve Brand – Sunprintspl0007
Steve Brand – Sunprints
September 2012

Five quiet and sometimes intimate atmospheres focused around nature.

Andrew Lahiff – Inner Worlds ReturningrM_0030
Andrew Lahiff – Inner Worlds Returning
August 2012

Synthetic and mechanical notions overlaid on an organic yet detailed landscape.

Shane Morris / Disturbed Earth – Suburban CatacombsrM_0028
Shane Morris / Disturbed Earth – Suburban Catacombs
July 2012

What goes on under suburbia, the day to day, literally, the pipes, storm water drainage, electric cable, communication, internet.

Steve Brand – CatalystrM_0026
Steve Brand – Catalyst
June 2012

Four cavernous, ethereal, sentimental and lilting inscapes timing in at just over an hour.

Chris Russell - BloomrM_0027
Chris Russell - Bloom
May 2012

Warm and peaceful zones inspired by nature. All carefully sculptured using a combination of field recordings and electronic atmospheres.

åpne sinn – en seierrM_0025
Peter James – Landfall
April 2012

Part of a journey. Not the final part or the start. Just a part of it. A mixture of long and short form ambient.

åpne sinn – en seierpl0004
Steve Brand / Ishq – Spiritual Science
March 2012

Easy and organic multiple disc release of several long form ambient pieces. Re-mastered during 2011-2012 for this special re-release.

åpne sinn – en seierrM_0024
åpne sinn – en seier
February 2012

"en seier" from the Norwegian meaning “one victory”. Rhythms, ambient soundscapes, and multiple collaborations. All straight from the heart.

Austere – EuterperM_0021
Austere – Euterpe
January 2012

Honed sonic goodness that covers every style or genre Austere is known for (which is many) but mostly brand-new ground broken, no paths retraced.

Peter James – MementorM_0022
Peter James – Memento
December 2011

Musical pieces kept as simple as the moments they depict so as not to blur the memories they evoke.

Steve Brand - Subtle Movements InsiderM_0011
Steve Brand - Subtle Movements Inside
November 2011

“Subtle Movements Inside,” was inspired after re-visiting a group of old poems and by recent events in my life.

Steve Brand - SoulSpiralpl0003
Steve Brand - Cahokia
October 2011

A three-song journey into one of the deeply mystical places of America’s heartland.

Bob Ohrum - All Around MerM_0020
Bob Ohrum - All Around Me
October 2011

In the sky and the trees,the sunlight and the breeze, in the buildings and the windows that surround me... they are all around me.

Zero Ohms - Worlds, AfterworldsrM_0019
Zero Ohms - Worlds, Afterworlds
October 2011

We constantly stand on a precipice of the unknown without the possibility of reversing. This seemingly unknowable void looms, beckoning. And flight is the only, albeit inadequate, response.

Steve Brand - SoulSpiralpl0002
Steve Brand - Upwelling
September 2011

Upwelling is collection of epiphanies, experiments, singular moments, remixes and re-discoveries.

Lowell Levene-Sims - <br>A Thing of Beauty to an Object of RegretrM_0017
Lowell Levene-Sims - A Thing of Beauty to An Object of Regret
August 2011

Cover Painting: There are No Wrong Notes by LLS, 2010.

Chris Russell - HomerM_0013
Chris Russell - Home (double album)
August 2011

recorded june 2010 to march 2011.

John Koch-Northrup - Temporal ArcrM_0002
John Koch-Northrup - Temporal Arc
(reissue w/ bonus track)
July 2011

Originally released on Red Antenna on 2001. Re-released July 2011, with one additional track.

Disturbed Earth & Steve Brand – What is Memory?rM_0016
Disturbed Earth & Steve Brand – What is Memory?
July 2011

This release is a 69-minute aural exploration of the nature of memory and time, utilizing keyboard atmospheres, flutes and voice.

Max Corbacho – Lost LinksrM_0018
Max Corbacho – Lost Links
June 2011

Deleted, unreleased and forgotten tracks.

Steve Brand - SoulSpiralpl0001
Steve Brand - SoulSpiral
May 2011

First in a series of re-mastered, re-worked, re-releases and special releases to come on Steve's own label, Pioneer Light.

Bob Ohrum – Subliminal ListeningrM_0014
Bob Ohrum – Subliminal Listening
March 2011

A collection of organic soundscapes created by capturing various field recordings, and then creating music to accompany them.

I’ve Lost – Scáth M’anamrM_0010
I’ve Lost – Scáth M’anam
March 2011

Scáth M’anam is a Gaelic phrase, which can be translated as “Shadow of My Soul”. The artist, aka Bobby Jones, chose this title by looking to his Irish roots.

Relaxed Machinery Artists – sleepMODErM_0009
Relaxed Machinery Artists – sleepMODE
March 2011

Relaxed Machinery presents sleepMODE, a snapshot of the rapidly-growing label celebrating its first anniversary.

åpne sinn – espiritistarM_0015
åpne sinn – espiritista
January 2011

By turns drifting and ethereal then beat driven, this debut recording spans many musical types and genres.

Leonardo Rosado – for rrM_0012
Leonardo Rosado – for r
November 2010


Chris Russell and Disturbed Earth – The Approaching ArmadarM_0008
Chris Russell and Disturbed Earth – The Approaching Armada
October 2010

The Approaching Armada is all about Chris’ electronics that have been soft soaked, the brittle remaining dark and edgy and Disturbed Earth’s presence in the sound.

Beta Cloud – The Book of Five RingsrM_0007
Beta Cloud – The Book of Five Rings
October 2010

All tracks recorded reflect “aural essays” of the concepts Musashi defined in his text of Go Rin No Sho.

Steve Brand - ConiunctiorM_0006
Steve Brand - Coniunctio
August 2010

Coniunctio is the joining of two longform ambient works. Pale Blue Orb is very celestial, spacious, glowing in the warmth of enveloping light and consciousness while The Beginning of Days is more terrestrial, Earthy.

Bob Ohrum - ElevatedrM_0004
Bob Ohrum - Elevated
June 2010

Elevated is a journey through heartbreaking loss and the celebration of a spirit set free from a broken body.

Chris Russell - FrozenrM_0003
Chris Russell - Frozen
July 2010

Frozen recalls the stillness and silence of a winter snowfall transitioning into spring, celebrating the rebirth and renewal of life.

Steve Brand - Circular ScripturesrM_0001
Steve Brand - Circular Scriptures
June 2010

Circular Scriptures is charactarized by beatless, diaphanous, semi-transparent layers of sound that flow and overlap, layered with deep earth-shaking timbres and near orchestral and choral allusions.

Steve Roach Interview

by Greg M (eyes cast down)

I discovered Steve Roach’s music in 2001. I first saw many of his albums (used) in a particularly cool book and CD shop in Toronto. First off, I was fascinated by the artwork, which was unlike any I had ever seen – it seemed alive, in its own timeless and visceral way. As very soon became clear, this was entirely congruent with the music in every respect.

The first album I heard was Midnight Moon, followed by Light Fantastic and Artifacts. Together they formed a neat summation of Steve’s entire career to that point. It was a revelation to me that one artist could cover such vast musical ground in a lifetime, let alone a few years.

Album cover: Midnight Moon by Steve Roach

Steve’s website was my entry portal to the world of ambient/electronic music, which I was delighted to discover. Within a few years, my own musical explorations had turned irresistibly in that direction.

The importance of Steve’s influence on my own musical development can hardly be overstated. Essentially, I’m here, in this ambient/electronic music community, because he is. In that respect, I am as far from alone as can be imagined. Steve is deservedly well-known for his enthusiastic support of fellow musicians – myself included. Whether it takes the form of collaborative recording, concert events, assisting with production, seasoned advice or simple encouragement, Steve’s contribution to this world of music transcends his astonishing discography.

So, when I decided to take the plunge and try my hand at interviewing, Steve was the obvious person to approach first. His gracious response was also typically proactive: “Let’s do it.” I was thrilled, and hope you find enjoyable reading here.

Many thanks to Steve Roach, for taking time from his usually-intense schedule to share these snapshots (and long exposures) of his journey.

Album cover: Streams & Currents by Steve Roach

1. You recently staged the SoundQuest Fest with several musician friends. How did it all flow by? What are your best memories of the weekend?

Steve: The production for the SoundQuest Fest event started about a year in advance. It’s always kind of surreal to have a point in time so far off, then it grows closer and then you’re in it, and then quite suddenly it’s a memory. The prep for this event was immense and since I was producing it, it means I took on the job as chief cook and bottle washer. It was a labor of love, and the end result and the feeling I have around it was one of real satisfaction.

The crew I brought together was vital to helping with the smooth flow the entire event had. Drawing from my experience of playing festivals and events over the years around the world, along with producing the Tucson concerts every few years, it was time to make this festival happen at home. I had a few stops and starts over the past few years, it was on a few times but something would come along and delay it a year. The recent downshift in the economy was a big consideration in 2009 when I moved it to 2010. With this said, I made the ticket price as low as possible to break even. I was happy with the turnout, but could see the current economic impact made its presence with a good handful of people who bought advance tickets not making it.

Best memories… seeing and feeling the camaraderie among the folks in attendance; presenting my set was a real high point as I was excited to present a lot of new pieces in the live setting. Byron and I took an extended time working on the set for weeks in advance; it was a great feeling to be this dialed-in and ready to take it to the edge. During this time we ended up creating some new pieces for a Serpent’s Lair type of project for 2011.

I don’t think many people knew this that day, but since Roger King had to run the video from the stage because of the tech issues, I ended up mixing all the other artists’ sets. That was a special feeling to remember, to be holding the space at that level for the entire event. When I was mixing Mark Seelig’s set it was like doing a mix for CD in that I was constantly ebbing and flowing within his set, constantly adding enhancements, dynamically pushing the mix louder and quiet, pulling deeper into the verb and then back out. Loren rose to the occasion with a great solo set that brought his nuanced soundscapes to life. After years of appreciation and respect of Erik Wøllo’s music, to see him right there in Tucson was a real moment to revel in as well.


Byron Metcalf, Dashmesh Khalsa & Steve Roach onstage at SoundQuest Fest 2010 (photo by Chris Russell)

2. It’s been over three years since the release of Arc of Passion heralded a new musical direction – your various musical streams seem to be flowing together more closely. Looking back on this period so far: what have you learned, and what do you see down the road?

Steve: For me the flow-confluence of the various zones I am drawn to work in seems consistent with my drive over the years. With time spiraling onwards on and with more life lived it just seems that the different spaces I create within are blending and morphing in a way that’s natural and responsive to the pulse of my life and devotion to the music.

What I see down the road… I have a constant array of projects in various states of progress. These cover a wide range and develop over time; it’s hard to say what will emerge first.

Album cover: Immersion: Three by Steve Roach

3. You’ve released many long-form pieces in the past three years and, with the Immersion series in particular, it’s clear that you’re increasing the magnification and slowing down time. You have spoken about moving towards DVD-length pieces like Robert Rich’s Somnium, and it seems like you’ll soon need a longer timeframe to continue zooming in. Do you feel closer to that signpost on the road?

Steve: I haven’t really thought about the DVD format as a sound carrier at this point; I’m looking at other, more current media. For now, I get the sense that people are creating their own custom long-playing playlists from my catalog at the resolution they prefer.

I recently released the Immersion Station for the iPhone and iPad, which takes the immersion experience into the hands of the listener. This is a collaboration with brilliant software artist Eric Freeman. We started talking about it in 2009. Visual Artist Hollan Holmes created the graphic look; he also just released his first CD which I helped him with. [Note: Steve mastered the album.]

Album cover: Sigh of Ages by Steve Roach

4. You have spoken of the increased sense of passing time as your body ages. Sigh of Ages is a beautiful testament to this, being informed by deeply personal life events and the sand in the hourglass growing louder. Is there anything you would like to share about it?

Steve: You can see time is a constant theme in my work for many years. The sense of time’s passage has been inside my work from the beginning really. While the best part of this sense is in the music, in the sigh of the ages, recently a listener sent this quote that seemed to be made for the Sigh of Ages awareness I was expressing, including the title Longing to Be woven in, a title I had given for the last track with no knowledge of this:

“Man remains a mystery to himself. He has a nostalgia for being, a longing for duration, for permanence, for absoluteness – a longing to be. Yet everything that constitutes his life is temporary, ephemeral, limited. He aspires to another order, another life, a world that is beyond him. He senses that he is meant to participate in it.” – Madame de Salzmann, in The Reality of Being: The Fourth Way of Gurdjieff, published by Random House.

This says it perfectly, about Sigh of Ages and my music in general.

5. You played in San Francisco’s Grace Cathedral three years ago. What was it like entering that building, and moving through it? What did the place say to you? How did it feel to play in that space?

Steve: It was the ultimate vessel for my sounds, no question. I have played in large cathedrals in Europe, so I had a sense of what I was entering into and did so with anticipation and reverence for the opportunity.

When creating a set for this kind of space, I am constantly projecting myself into the space for weeks before. The expansive acoustic nature of the cathedral creates a powerful sensation that occurs when you hear the sounds hovering high above in the space as I am playing; this is simply without words. It’s almost like playing outside, but in a contained space which greatly influences the sounds and the set I create for the space. It’s a humbling experience and, at the same time, the call to meet the vast space with my personal energy and music at that expansive level was transformative.

I’m really glad we were able to capture the live recording of this.

This kind of preparation, where I keep traveling to the space before arriving, helps to create a strong alliance with the unseen creative current that I love to be inside of. An early experience of this was my connection to the Australian outback. I was prepping to travel there for some time before going. My research and creative work continued to build in momentum and then – what seemed suddenly – I was standing in these remote places that seemed so familiar. A Dreamtime Return indeed.

Album cover: Nightbloom by Steve Roach & Mark Seelig

6. You’re worked with Mark Seelig on five projects now: Wachuma’s Wave, Mantram, Disciple, Nada Terma and Nightbloom. What does he bring to the table as a musical and spiritual seeker?

Steve: Mark is devoted to developing his sound through a deeper investigation of the self on a daily basis; I naturally respect that. In all of these projects, he brings that devotion of his music to the space we are working in. The technical, studio side of the equation is not a place he dwells in. In the case of Nightbloom, he came in wanting to record some voice overtone and throat singing. Pretty quickly into the recording, things took a change; I continued to work on it for nearly a year.

7. After a year or more of deep solitude, which gave us Dynamic Stillness, Afterlight, Destination Beyond, Immersion: Four and other releases, you’re busy with a new cycle of collaborations. Dream Tracker (with Byran Metcalf and Dashmesh Khalsa), Nightbloom and The Desert Inbetween (with Brian Parnham) are released, and a project with Kelly David is in progress. You’ve also begun a second project with Erik Wøllo, in the afterglow of SoundQuest Fest. What have you learned in your explorations with these new musical partners?

Album cover: Dynamic Stillness  by Steve Roach

Steve: This progression is one of a natural momentum. For me, letting go of expectations is the best thing to remember. These collaborations are with kindred friends, so the flow is there; often there are a few different projects running alongside each other and thus feeding a mutual kind of fire. I never create just one project and finish it, then start a new one. As I mentioned, I have a lots of projects in various states going all the time.

Next up in May is a new release with Erik, titled The Road Eternal. Our roles are clear on this one. I am doing all the sequencing and analog textures. Erik is all guitar, processed and Roland guitar synth. While we started it before he came to Tucson for the SoundQuest Fest, after the concert he came to the studio for a few days and we worked non-stop to the completion point.

It’s full of light and energy, very positive feeling and, as the title suggests, great for driving.

8. I haven’t heard any guitar in your solo recordings since Fever Dreams III. Now that you’re finally collaborating with a guitarist [Erik Wøllo], are you done playing guitar, or do you expect to return to it? Is there no place for it in your current solo sound?

Album cover: The Desert Inbetween by Steve Roach & Brian Parnham

Steve: Actually, I continue to play guitar often. It’s woven into more recordings than you might know. Sometimes it recedes to the background as one of the many layers. I have a standalone mini rig just for the guitar, a dedicated Mackie 1604 with processing and looping just for this board. I treat the guitar like I would a synth and don’t do anything with amps or amp modeling. I want a clear tone to start with.

My new set of releases, The Desert Inbetween and Immersion Five – Circadian Rhythms is full of guitar textures, loops and more. The long-form piece on Disc Two of Immersion: Five was created from nearly all guitar. The opening track of The Desert Inbetween has perhaps the most thematic guitar I have recorded thus far, also EBow and textural. More guitar will be more featured on future CDs this year.

9. You’ve begun reissuing albums in recent years, with Dreamtime Return, Truth and Beauty, Empetus and Spirit Dome/Live Archive leading the way. Can we look forward to others?

Album cover: Empetus by Steve Roach

Steve: Quiet Music was originally released as 3 one-hour cassettes; its current version is 2 CDs which is missing nearly an hour. Celestial Harmonies released it as the “complete edition”, but in the end that was not really the case. I am working with Sam at Projekt to release the complete 3-hour Quiet Music on 3 CDs in the same sequence as the original version.

10. How are the studios (the Timeroom and the Analogue Cave) evolving?

Steve: At this point, after the years of refining and seeing lots of instruments and synths come and go, the core is still centered around knobs, sliders… hardware gear I can put my hands on and carve with.

The mixing board continues to be an essential instrument central to the room and a great palette to paint with, in the way I work. At this point in 2011, it’s not a common studio sight, it seems – the big analog board, hardware synths and rack gear. My way is to stay true to the tools that give me the best feeling when creating, the richest sound and the ability to continue to develop a relationship with the instruments, for example in the way a guitarist does with their favorite guitars over the years.

Album cover: Light Fantastic by Steve Roach

I love the fact that many of my favorite synths were with me in the creating of earlier pieces like Dreamtime Return, Empetus and World’s Edge, and are here right now as my first choice on most days. The analog modular continues to be a simmering obsession and right now the studio, as a living breathing space and collaborator with me, is feeling better than ever with no real surges of gear lust being felt. All the focus is on expressing the great mystery.

11. Is there anything you would like to add to our conversation?

Steve: I want to send big greetings to the Relaxed Machinery community and JKN [John Koch-Northrup] for the great feeling around the site. I will be checking in when I can. It’s inspiring to see the regular gathering around the fire ring with this passion towards the art we all love.

All my best and carve on!

Byron Metcalf onstage at SoundQuest Fest 2010

eyes cast down: official website
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