The Analog Eyes in a Digital World series has, at its core, the concept of perspectives and viewpoints of the same things...just from different points in time. How many cutting edge technological advances made in the latter part of the 20th Century are currently the denizens of the dustbin of history? Think about it...those that thought that the compact disc was the ultimate in audio technology were in fact the sons and daughters of those who, just twenty years earlier, thought that no one could ever improve upon the Muntz 4-track system.
It's all about perspectives drawn from life experiences. Now, with the release of the fourth and final installment of the Analog Eyes in a Digital World series, we go back in time to examine the perspectives, viewpoints, visions and dreams of those whose concepts of modern technology were products of the Age of Steam.
Westward (to America) attempts to soundtrack an imaginary slideshow of the black and white cabinet card images of the tens of thousands of 19th century common people that, forsaking family and friends, often parlayed their last cent into steerage class passage upon a steamship, bound for a new life in the beacon of hope, freedom and prosperity to the west called...America. I would suggest looking up these old photos and videos on the internet, then viewing them while Westward (to America) plays in the background. As you look into their faces, you will hear their dreams of a new life ahead, set to the slow rolling motion of a westbound ship upon the Atlantic.
Submarine Dreams holds to the same timeframe of Westward, except it is from a vantage point beneath the rolling waves, aboard the Nautilus. Looking through the portholes of the legendary ship, you can see why Captain Nemo prefers this world as opposed to that where mankind rules with a violent disregard for life. The cabin lights are dimmed, and exterior lighting and primitive microphones are engaged so that you not only see the teeming life that swims around you, but you can also hear it. Submarine Dreams gives you the perspective of Captain Nemo, and a passage to what is truly, the final frontier.
One of my heroes, the late Edgar Froese, said, "There is no death, there is just a change of our cosmic address." The Vulcans call that place Vorta Vor or Sha Ka Ree. To the ancient Greek culture, this place was called Elysium. Some view it as becoming one with the light, while others see it as transcending the mortal, and passing into a heavenly domain of the immortal. Almost always, it is described as, 'going to a better place'. Restoration is the soundtrack for, and about those who are making that journey to a better place, as composed from the perspective of those who are left behind. Sorrow and hopefulness in equal measure...opening and closing with the voices of the Elysian Fields.
May these three portals into other places, times and dimensions provide you with peace and new insights.
Restoration is dedicated with love to the memory of my father, Paul Kays April 19, 1927 - December 14, 2017
released December 18, 2017
Analog Eyes in a Digital World series releases:
Part One: auralfilms.bandcamp.com/album/the-exploration-of-inner-space
Part Two: auralfilms.bandcamp.com/album/analog-eyes-in-a-digital-world-two
Part Tree: auralfilms.bandcamp.com/album/analog-eyes-in-a-digital-world-three
Written, Produced, Engineered and Performed by Tim Kays at The Studio in the Clouds Bryan, Ohio between 2010 and 2016
Tim Kays uses Roland, Moog, Korg and Arturia Synthesizers; Gibson, Fender and Steinberger Guitars, with Fender and Line 6 Amplification.
About Tim Kays
Playing in a high school garage band and working part-time at the local radio station as a Midwestern teenager in the 1970s, Tim cut his teeth on the riffs of Tony Iommi, Robin Trower and Jimmy Page. One evening at the radio station, he fumbled through a box of newly arrived promotional albums that were deemed unworthy of airplay by the program manager. One of those albums caught his eye, so he pulled it out and played it in the studio. Five minutes into that album, 'Stratosfear' by Tangerine Dream, Tim discovered that his views of music to that point were, at best, myopic.
Through the garage band days, up through the ranks of semi-pro and professional musician, he tinkered with Moog and Arp synthesizers, but always just as a fill or lead instrument behind the guitars. In 1998, he began using Roland guitar synthesizers to expand his sound, and a decade later, he began recording using the Rolands, along with a Moog and Yamaha to take his first awkward foray into the genre that had stunned him over two decades earlier…electronic music.
A musician writes from the emotion of experience, and after a decade-long relationship crashed and burned in 2009, Tim had plenty of inspiration from which to draw. Putting the guitar down and relying almost entirely on synthesizers and sampled sounds, he found a new voice. In his newfound 'self-medication' for an aching heart, Tim began to draw upon the old influences of Tangerine Dream, Jean Michel Jarre, Michael Hoenig, Vangelis, Michel Huygen, Hans Joachim Rodelius and Brian Eno…and the compositions began to flow.
Discovering a Facebook community of like-minded musicians, Tim discovered new, but equally profound influences. Musicians like Gert Emmens, Jack Hertz, Mike Carss (Altus), Daniel Robert Lahey, Cousin Silas, Wendy Waters (Magnetic Wind), Phillip Wilkerson, Bing Satellites and many others occupied huge chunks of his computer hard drive. With the addition of their influences, the compositions became albums…and more and more albums.
Being solely the product of self-medication, Tim determined that the albums were to remain private. After giving a listen to a special friend, she convinced him that more needed to hear his music. Easier said than done, though. Who? How?
The answer came after the Sandy Hook tragedy, when Magnetic Wind decided to release a compilation benefit album on Jack Hertz' Sounds 4 Good label. Tim submitted an old track, entitled "Footdancin'". When it was included on the 2013 benefit release entitled, "For Our Children," Tim was now a published solo electronic music artist.
Since that time, he has had releases on the BFW, HAZE and Petroglyph labels, as well as Jack Hertz' Aural Films label. His music has been played on several stations, such as StillStream and Radio Sunrise. Still though, although he has over 30 albums of material recorded, most have never been heard outside of a few close friends.
As Orson Welles once said of Paul Masson, "We will sell no wine, before it's time." The same can be said of the music of Tim Kays.
More info: www.facebook.com/tim.kays.5
About Aural Films
Aural Films is an online record label (netlabel) that releases high-quality soundtrack albums for movies that do not exist. We cover a wide range of music styles ranging from ambient to experimental to popular to soundtrack musics. Often on the same albums. You can find our complete catalog of releases online at auralfilms.com
Aural Films Catalog No. AF0216