Roach, Steve

Artist: V/A
P: 2001
A collection of unreleased tracks from the creative music edge . Compiled by the spanish magazin Margen.


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Artist: R.Rich, M.Stearns, Alio Die u.a.
P: 2001
Best Of Hearts of Space artists from the 80s and 90s.

Artist:  Steve Roach, Frank Quasar,
Jeff Pearce u.a.
P: 1997
One of the rare Ambient Cds, that made the breakthrough for several artists.
This was a very well selected collection by the Mirage label USA of unreleased ambienttracks from the listed artists.

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Artist: Vidna Obamana, Steve Roach,
Patrick O'Hearn, Vir Unis, Stephen Bacchus
P: 1998
All new tracks, exclusive for this CD!
"The Ambient Expanse is a five-movement collaborative work created by two generations of ambient artists."
All movements composed and recorded May - July 1998 at the artists's studios. Final mix at the Timeroom. Final mastering & Assembly at the Timeroom, Tuscon, AZ, USA on July 18. 1998

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Artist: Robert Rich, Steve Roach,
The Ministry of Inside Things u.a.
P: 2002
Tracks 1-6 recorded live at The Gathering concert series, Houston Hall, Philadelphia, PA.

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Artist: Vidna Obamana, Steve Roach,
Erik Wollo u.a.
P: 2015
Best of the Projekt artists from their 2015 releases.

Artist: Vidna Obamana, Steve Roach,u.a.
P: 1994
Just look at the names in the tracklist above - if you are into this type of ambient music you know without a doubt that this is a winning formula. And this fine collection of artists totally fail to let us down. Weird but fascinating ethnic rhythm with electronic enhancements-a-plenty, O YUKI CONJUGATE's track with it's breathy human voice punctuation serves us well as a starting off point, and establishes the high quality of the album. VIDNA OBMANA follows perfectly with a whispy dream vision accompanied by minimal percussion which could have been taken directly from the previous track. Relaxing and just that little bit mysterious. STEVE ROACH takes a similar ethnic percussion and accompanies it with electronic drift and the sound of a thunder storm. JORGE REYES takes us on a journey through the past, making a music evocative of ancient civilizations and the sounds of nature which accompanied those who lived in such ancient times and places. HYBRYDS take us somewhere else, away from more 'primitive' cultures. Although I have never heard their music for aquariums, this strikes me as being along similar lines, with water gurgling and whale-like sounds wailing away in the background. TEMPS PERDU? forgot to nip to the loo before recording this, so had to go during it's creation. Besides the last few drops shaken out, we drift through a place not dissimilar to VANGELIS's take on the "Blade Runner" future, with pattering ethnic drums and a variety of wind instruments all combining into a passive, calming atmosphere. DINO OON & KONRAD KRAFT head more towards a growling Isolationism without losing the overall string of effect this album seems to create. The tune is more forward, more obvious, less atmospheric. VOICE OF EYE's piece, although drifting and calm, has dark and disturbing edges which remind me of NIN's theme to "SE7EN". JEFF GREINKE attempts to calm our nerves back down with a gentle tube of shifting sustains. Simple as it is, there's a whole lot going on here, although it sounds like one moment frozen in time. ALIO DIE, those purveyors of unimaginable beauty, bring us a dark and disturbing revisit to the land JORGE REYES took us to, now infected by VOICE OF EYE's darkness. Dark, mysterious ethnic world in which a thing - dragon or malign beast - dwells in the shadows, waiting for night. PAUL SCHÜTZE brings us up to date with a Jazz which seems to combine the elements of all those mentioned above, keeping a slightly disquiet, unnerving feeling to the music. His is a world not of peace and calm, but of hidden dangers, of eyes watching your every move. Easy listening doesn't guarantee ease-of-listening. HUMAN FLESH are something else again, with an orchestrated mirror-vision of calm. Very different from anything previously. Lighter, brighter, a balm for the ears and the nerves. And finally, of course, TUU take us for one more visit to the ethnic realms. Almost as calming as the previous track, TUU make a beautiful music which, with it's Asian-sounding drums, makes for a fascinating listening experience.
An album which was probably darker than anticipated (which is no bad thing). Combining beauty and ugliness in equal shares.And of course well worth investing in.

Artist: V/A
P: 1999
Here's another excellent ambient anthology for those into the darker end of the genre. Featuring nine artists, the sampler takes from both new and veteran musicians, to deliver up a diverse yet flowing 74 minute CD. Kevin Keller opens the disc with samples of voices whispering. From it he creates a slow 12 minute warm drift similar to musicians like Robert Scott Thompson. Illinois synthesist James Johnson's Closure is at least half as long as Keller's track, yet the style is very similar, with muted and shifting chords gently floating on the air, melodic and peace-inducing. Dean DeBenedictis takes a much different approach, far more abstract and surreal, although there is a similar underlying melodic pattern underneath the Schnitzler like rattling and scuttling. As the tracks progresses along its eight minute length, it grows more fascinating with treated water sounds and voices. It is over far too soon. Ma Ja Le return the focus to melody, and the nine minutes Images Remain is full of crystal, ethereal chords floating up, a far different sound than their CD with Vir Unis. A piece one can lose themself in, with longing and melancholy, this would have fit perfectly on The Ambient Expanse. Rod Modell's Ipperwash Twilight leaps out of the speakers with incredible sonic clarity, and you immediately know you're in the presence of a creative force. Strange, but slightly melodic synths with a wide array of tones and field recordings spread sheets of sound over percolating sequencers, and the strange scaling and effects, successfully create an incredibly alien landscape. This is visionary music, alone worth the price of this disc. Dave Fulton's piece is also odd, with steely sequencer and loads of metallic industrial sounds that starts at a low volume that increases over most the track's length. It's dissonant melody provides sort of a lull in the overall CD flow, and sets up veteran Loren Nerell's Liquid Metal Stasis, an intense drone with microtonal bell sounds, volcanic bubbling, and other rich and colorful tonal shading. We definitely can never hear enough from Nerell. Scott Fraser's Straight Lines is another drone where the subtlety hinges on the changes of tones of the synthesizers. At eight minutes, it progresses through number of colorings, remaining surprisingly dynamic. As he often does, Steve Roach closes the set, his contribution the 7 1/2 minute Bottomless, and here we see the least urban track on the anthology evoking the wide expanses and chthonic depths of consciousness. A more chilly track than Roach usually produces, but no less evocative for it. A strong anthology, and one of the more impressive of the type in recent memory."
1999  Mike McLatchey / Expose Magazine

Artist:
P: 2006
There is always much to do amongst musicians and/or fans of em about analog or digital? Will we use the warmth of analog or the more reliability but less character of digital? This album has become a sort of contest where each artist could use only three genuine analog synthesizers to create a piece of music (although modern recording techniques were permitted).
"Analogy, volume1" contains music by some of the finest em-musicians of today.
The music ranges from traditional sequencer-based berlin school (create, syn, altres, modulator esp), via melodical (remotion, emmens, aerts, tescee), ambient (ellis and roach, 4m33s) to experimental (nerell, roach and oken, storey).
All music was played and recorded with care and love for the music and the instruments that it’s played on. "Analogy, volume1" is a great and eagerly awaited project.