Maybe long winded but here we go.
Jeremy and I started off talking about your music where it comes from then future seeing of it, all in combining something intrinsically Hawaiian with something new and other worldly. So the first side of the art work represents Hawaii through the Molokini crater, I liked this since it is something distinctly Hawaiian but created from something that literally came from another world. The next side is Pluto, I chose that as a representation of the further “place” or heavenly body music has travelled via the Golden Record on Voyager. So the whole thing is about this space and journey between the two, hence both are removed from their actually context and places onto a new textural non-place, and both are digitally treated to show this isn’t depiction of these places but just a representation or simulation of them.
The line work then is something I’ve been playing with for awhile but is inspired by stick charts old very localized and personalised way of navigating a space, mostly used to navigate bodies of water. So they represent you, me, any listener, our ways of understating and navigating this space between Molokini and Pluto, that stimulative non-space your music and the reworking of your music has created.
The idea of Talisman comes more in the 3rd release which is coming, where the artwork is more about us the listeners, it’s about the vessel and having made that trip. So it’s back in Hawaii, in the water like a shuttle that just came back to earth, it’s us having gone to Pluto and back and with it brought back these gems or talismans, it’s what we’ve gained from listening to the music.
Robert ÆOLUS Myers is to play again this year at the Memorial Garden of the First Parish Church from 5 p.m. to 8 p.m., Friday, June 21st. This is the third year for what has become an annual event in the heart of the City of Portland. A three hour long play event, this year on the heals of a newly released album, Talisman. For directions go here.
Fact Music News has voted ÆOLUS: A Retrospective as its 12th best re-release for 2017.
“If, like us, you’ve been losing yourself in the technicolor paradise of Björk’s recent Utopia album and need a wider selection of synth-and-flute pairings in your life, these two collections of vintage ambience will be right up your alley. This retrospective of Hawaiian composer and musician Robert “Aeolus” Myers compiles choice cuts from his four long unavailable private press albums and offers an illuminating portrait of one of Honolulu’s leading new age practitioners.
“Aeolus moves from epic Vangelis-style synthscapes to vaporous seances, then takes a left turn into sultry bedroom funk. It’s completely magnificent once you adjust yourself to the bright sound palette and opens the door for future explorations by Aloha Got Soul into Hawaii’s environmental/new age music scene.”
Still available through Aloha Got Soul’s Bandcamp site.
One night back in 2014, Bong was browsing the ambient blog and record label Sounds of the Dawn when he came across ÆOLUS’ ethereal second album, Rays. Digging further, he realized that Global Pacific, the New Age label that originally released the record, was once based in Hawaii.
Bong got the phone number for Robert Myers—the man behind ÆOLUS—from Sounds of the Dawn and, over the next two years, the Bong and Myers collaborated on a comprehensive retrospective of Myers’ four solo works, including 1982’s Aeolian Melodies, 1985’s Rays, 1989’s The Magician and 1993’s High Priestess. The result is a 13-track magnum-opus: ÆOLUS: A Retrospective.
Thank you Jason Black for such a wonderful article. For the full article go here.
In 2014 Roger Bong of Aloha Got Soul, blog turned record label, contacted Robert to inquire about the origin of the album RAYS. Their discussions and ultimate collaboration culminated in the Release of ÆOLUS: A Retrospective.
For the full article go here.
Life is about change–we enter life through the portal of change and throughout our days we change and change again. The HIGH PRIESTESS is offered as a soundtrack for these passages.
The HIGH PRIESTESS is a collection of 12 compositions for Breath, Birth, and Rebirth. This project assembled as a soundtrack for negotiating conscious birth was originally composed for theatre, dance, and live performance. These provocative works drawing from contemporary, tribal, Asian, and Arabic influences with percussion, synthesizer, and flute throughout have been found specifically helpful for labor and delivery. Enjoyed during the pregnancy the expectant parents and the child in utero are invited to breathe, move, and dance toward being. It is hoped that you find these melodies as helpful for the celebration of your own new life as we have for ours.
The HIGH PRIESTESS is a retrospective of works that has been remastered for this project. The album has been carefully scored to mirror the experience of birth and rebirth. The compositions are welcoming enough to invite the newborn, powerful enough to hold the intensity of delivery, and evocative enough to be useful for breathwork.