Florida’s Greg Kyryluk has been producing stellar dub and psychedelic ambient music under monikers like Alpha Wave Movement, Subtle Shift, and Open Canvas for over two decades now. Emerging with the “Berlin School” (a collection of producers who created the backbone for what we now classify as ambient electronica during the 70s and 80s) Greg has found an audience by interpreting and transforming the classic sound this genre has become famous for.
By using his own label, Harmonic Resonance Recordings, Greg manages the way that his music is handled and distributed. He has also had the pleasure of having his music featured in video games like Grand Theft Auto and television shows like True Blood.
For his most recent release Echoes In the Vacuum: Space-tronica for Psychonauts I wanted to speak with him about this project, his motivations behind it and a recent name change.
Prox: I was a little late to the party on this one unfortunately but I saw that you released Echoes In the Vacuum: Space-tronica for Psychonauts under the Alpha Wave Movement project. What was the overall theme and energy that you wanted to convey on this one?
Greg: The music on the release comes from my continual interests in silence and rhythm juxtaposing one another of which you would find in many of my other projects such as Subtle Shift and Open Canvas. I also work in a very lucid state when I am in that inspirational zone so I do not necessarily or consciously have a concept prior to composing any given piece of music.
Its a sound or rhythm that might trigger the inspiration and propel it forward. I used the term space-tronica to sort of merge space rock and electronica in a rather benign description of what the listener would experience whilst tuning into the music.
Prox: Could you give us your definition of “Space-tronica?” What are some good elements to include?
Greg: The elements on Echoes are all over the place. You have the more energy driven opening track Herzschlag des Universums (heartbeat of the universe) which sort of channels the Berlin-School vibe ala Harold Grosskopf and Manuel Gottsching and as diverse as Akasha a track I composed because I love the sounds, strings, and percussion instruments from the far east. Then there’s the sort of Ray Manzarek tribute of Solina Spaceways a track that is quite honestly not of the normal AWM music one might expect from me; but I had a really good Fender Rhodes sample in my Kurzweil K2000 I felt I needed to exploit. Also one of my favorite Doors compositions Rider on the Storm is one of the most otherworldly rock songs from the 1960’s!
Prox: Other Worlds is one of my favorites from all of your work. Could you give us a breakdown for this track? What’s the meaning of the title?
Greg: OW is a slow burner, downtempo in nature. I had this really nice sort of Floyd-ish like synth lead that I had programmed into my Novation KS4 synth. I thought it would work well in a melodic sense in conjunction with a simple drum loop. I added the strings and reverberated percussion to give the track a little more depth as well as a sprinkle of some spoken samples from a control tower. I really like the way the track expresses that space music vibe without meandering into the drone zone. Its also one of my favorites on the release.
Prox: Recently, I found out that you changed the name of one of your side projects from Within Reason to Subtle Shift? What the reason for the change? Does this mean that the music from this project will sound different?
Greg: Within Reason, for legal reasons had to have a name change because a US based rock band had incorporated the name. So, legally they beat me to the punch with regards to obtaining the band name. I thought Subtle Shift (the title of my first Within Reason release) would aptly fit the project as well. Subtle Shift is my ambient dub project with downtempo elements, think Biosphere and Gas intertwined. There is of course ambient elements and I tend to like to incorporate natural environments into the music. This is also my in the box project which means all the music is recorded utilizing digital software based instruments no external hardware what so ever.
Prox: What is some entertainment you’ve been enjoying lately? Any new artists, musicians, or shows you want us to know about?
Greg: I got hooked on the sci-fi series Stranger Things for two reasons: it was a well written show and the music was purely electronic and not in a dance/trance sort of way but more in the traditional late 1970s variety and I thought that was a tad daring. I’ve also had an affinity for the curiosities past cultures have left us and ancient archeology and structures peak my curiosity muse as of late.
As for what I listen to that list is long. Anything from obscure new age music Iasos, Carl Matthews, Hiroshi Yoshimura, baroque classical music to jazz like Egberto Gismonti, Gabor Szabo, Thomas Kessler (if you like the early Jansen/Barbieri collaborations and Lyle Mays from the 1980s you need to need to check out this German musicians music!).
Prox: Final thoughts?
Greg: The continued journey thru the world of sound and light!
You can support Greg's projects on Bandcamp.
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