New Album: Rage & Fear


Much of the musical writing I have done tends to hover in the “New Age” realm of things. I guess you’d call it peaceful and relaxing. Heck, one of my albums is even called “Calm”.

But, I don’t particularly aim to create those moods. It’s just what I’ve enjoyed exploring. Of course, there are other moods to explore. Hence – Rage & Fear.

The first track, Rage, has also been called “Beast” in other iterations. It is an aggressive peace that captures anger, not as a simple term, but as an undulating wave – something that emanates from within and crashes out of control until finally it is channeled into something of use.

The second track, Fear, is a much longer work that I had released several years ago, but have now re-issued. It poses a pervasive sense of anxiety without real resolution.

Album “April 13, 2013”

As many of you know, I record my weekly Saturday morning performances. Occasionally, I manage to find the moments needed to capture them into a presentable form and ready them for release online or elsewhere.



Descriptions of the tracks are as follows:

(If you want to go straight for the power piece, head over to Alight – Burden)

  • Moonlit Rocks – A very relaxing piano/synth combo starts the performance. It’s the only real ambient piece of the entire work.
  • Moon Patrol – Fun synthesizer playing with echoes, arpeggios, and interweaving melodies.
  • Started by Dawn – Usually a quietly played piece, this version finds much more energy and power before drifting off after a collision into the moments where the notes begin to fray. Written in A Aeolian mode.
  • Alight – Burden – First part is a strong, brazen piano and clear structures. The second part transitions to synthesizer. Grungy with echoes, some ethereal, some crushing. F Aeolian mode.
  • Unwritten – Unsung – A piece that has been evolving for at least 20 years now. C Aeolian mode. Unwritten is the first of pieces in which I transitioned from writing by way of notation into writing through an iteration of improvisation. Neither is right or wrong, though I do seem to have a readier access to the sense of play in the live medium.
  • Dandelion (Synth) – More recent work written in Bb ionioan mode. Generally, I play this as a pleasant piano piece. Here, I decided to go with the synth, having built its momentum throughout the performance and wanting to return to it before wrapping up.
– Kourosh

Sun & Earth

Water & Sky