Whitlan, Stephan

Artist: David Wright & Stephan Whitlan
P: 2020
These two experienced musicians combine to produce an album of original music very much inspired by Tangerine Dream, Klaus Schulze and Vangelis. ‘The Reflecting Sky’ presents 75 minutes of diverse and original electronic music that weaves a powerful, sequencer laden spell packed with sonic delights that will have fans of traditional Berlin school em as well as fans of the two musicians in raptures. ‘The Reflecting Sky’ came from a series of improvised sessions at David Wright’s Suffolk studio between 2017 and 2019 during ‘down time’ from Code Indigo concert rehearsals. During that time the duo laid the foundations for four distinctly different tracks. However, it wasn’t until early 2020 and the time afforded by the Covid-19 lockdown, that they went back to the music. After 4 months of painstaking editing and arranging, the result, we think you will agree, is a fascinating blend of musical styles, a metamorphosis into something unique. The 11 tracks are in fact 4 long pieces, each displaying a creative and imaginative blend of sequences, rhythms and atmospherics that create a soundscape to take the listener on a mind-blowing cosmic journey. While the duo clearly pay a passing nod to the more established luminaries of the genre, ‘The Reflecting Sky’ is an original and sophisticated slice of electronic music, clearly reflecting the musical vision and expertise of both artists at the peak of their creative prowess and clearly enjoying the collaboration.

Artist: Stephan Whitlan & Paul Ward
P: 2019
This is the other side of the two musicians, which show their more ambient experimentel style. But still pure electronicmusic with a dark soundtrack style character.

Artist: Stephan Whitlan + Steve Jenkins
P: 2007
Narcosis (aka Stephan Whitlan and Steve Jenkins is like a cross between AirSculpture and Wavestar
Narcosis is the debut album from the band of the same name. Each track was improvised and recorded live in one take, using a wide variety of vintage analogue gear (and some modern equipment too!).
Narcosis have developed their own style and although there are influences from a very wide range of electronic music styles, the end results span a range from full-on sequencing with prophet lead lines cutting through the air to mellow, chilled out tunes that switch the listener's attention from excitement back to relaxation. Unlike most EM at present, Narcosis tread their own path which they hope you will want explore.

 

Artist: Skoulaman & Stephen Whitlan
P: 2023
Their E-Live performance from the 12th of November 2022.

Skoulaman:
Korg DS8/03rw
Roland JUNO106/SH32/U110
Moog Little Phatty
Kawai K1r/K4
Waldorf Q/Streichfett
Behringer Deepmind 6
Eurorack Modular (sequencing track 1,2,4 and 5)

Stephan Whitlan:
SCI Prophet 5 rev 3.3
Behringer Odyssey
Nord Electro 3
Korg DW8000
Roland D50
Behringer Model-D
Arturia Keystep
Eurorack Modular (sequencing track 3 and sound-effects)

Artist: Stephan Whitlan & Ron Boots
P: 2017
New collaboration of two wonderful styles.
Ron keeps a real kaleidoscope of lovely gear in his studio so recording was often a choice of selecting which bits to use. I liked some synths so much I have since bought ones myself , and others I crossed off my shopping list.
A sub-project was to evaluate his new Minimoog; I've owned and played 2 for more than 30 years, so the test was to see if it behaved like mine. I was quickly at home with it and used it for all my lead-lines (whereas Ron tended to use other instruments).
Although production work was pretty well split between us during recording, Ron deserves special credit for the subsequent work tweaking and finalising.

Stephan
Jan 2017
Rutland

Artist: Stephan Whitlan & Ron Boots
P: 2018
LTD 300
This is the live recording of the improvisation of E-Day 2018. Ron, Stephen and Harold filled up 70 minutes of time while the hall waited for Ryan Air to deliver the instruments of Ulrich Schnauss. This is a 2 track live recording of this live set without goofing around with extra's. 3 Hours before this set they musicians had not even decided to go on stage!

Artist: Stephan Whitlan & Ron Boots
P: 2019
Three Day Week is a tour de force of Sequencing. Get 2 musicians in a room, fire up the synths and Sequencers and let them run!! That is what we did in April 2019. Stephen was over for his E-Day performance and after the weekend we set up in the studio and just started experimenting. What happened after we pushed start is partly on this release. The Sequencer parts are recorded live and in one run. We concentrated full on the Sequencing parts during these runs, no soloing (not even Stephen!!) and no accompanied parts. Bare Raw Sequencing was what we where left with. After that we listened through them a decision of which recordings to use was made and started with the additional music. We even asked Harold to join in after we had our UK concert in Lea Hall where we did parts of what we did in the Studio. We hope you enjoy this Sequencer fest!! And yes PLAY THIS LOUD!!

Artist: Stephan Whitlan
P: 1999
Again a collaboration, it features a local Irish musician, Keith Corbett -who I'd met on a community Arts program- and the cd was the result of re-assembling my studio after moving. In fact, it was Keith's curiosity about my studio that actually got it out of their boxes at all. Once rolling, the recording went well and I would usually take one of Keith's ideas and then 'arrange the hell out if it'. Some tracks are more successful than others, but I liked them all -even if one of them does have a Prodigy bassline which Keith had stolen but I didn't
recognize!
ST.W.

Artist: Stephàn Whitlan
P: 1996
Time has not taken the gloss of this release in any way, in fact it really does seem to improve with age. The almost unbelievable brilliance of the opener, alone, warrants regular visitations to this CD and the other goodies on show round the package off superbly.
Quite simply a craftsman at work. The opening track is the epic ‘The second hand swept away the time that could never be recovered’, and at a touch over 20 minutes long this album wastes no time in presenting its credentials. Usually when presented with such an expansive piece the sequences and rhythms are the feature aspects, and indeed here the sequencing is truly wonderful with a melodic approach which Glyn Lloyd Jones fans will I’m sure revel in. However, the overriding aspect of this track is the wonderful main theme which ebbs and flows constantly, building to a crescendo then descending to gather itself ready for another pass. For melody alone to carry a 20 minute piece takes rare ability and skill - but it’s here in buckets. The sequences embrace the main theme almost as one and the whole track really is a triumph of composition and scope which I don’t think I’ll ever tire of hearing. Four of the remaining pieces still weigh in at around 10 minutes so there’s lots more on offer even after the magical opener.
'The Darker It Gets...' contains some very Vangelis-like refrains, while 'Freak of Geometry' again displays Stephan's mastery of sequence and melody.
'The Last Place God Made' features some fine virtuoso piano played with real emotion, while 'Idleness in Monkeys' is not only a great title but also a fine piece of EM.
'Into the Greenwood' is another melodic delight with (in common with several of the tracks) unmistakable John Dyson references.

Artist: Stephan Whitlan
P: 2018
Looking back now, having recently listened to this material with fresh ears, it seems inconceivable that these tracks have slumbered unheard for so long. There was certainly no intent not to release this stuff, indeed 4 of the tracks were played live around then and I still play '(untitled)' once in a while these days. As is usually the case with me, it was only when Ron accidentally heard the 'Leitrim' track, that the whole idea of finally releasing the fabled 'lost second album' took shape -indeed 'Leitrim' has recently been played live with help from Ron, Harold van der Heijden and Frank Dorittke in the UK and Germany.
Back in the 1990's, encouraged by the enthusiastic response to my first disc, 'Map reference', I set out to record a sequel at home in Sheffield (Map Reference had been done on location in the wilds of Bedfordshire). Things went well, and I soon had 4 solid tracks in the bag. Then I got completely distracted by moving to Ireland, and the project stalled with not yet quite enough material for a CD. I did continue writing and recording in Ireland (eventually) but this material was very different and became the K2Project album. Second Site was never finished.
Whilst based in Sheffield, I was also working with John Dyson on projects various, and part to the weekly round was to visit him for an evening an 'do some music'. Sometimes working on his stuff, and sometimes just checking out equipment and as a by-product come up with interesting little demos. These we could knock up in a couple of hours, from start to finish and end the evening with a quick mix-down to cassette. Luckily I held onto these tapes and now find that there are enough pieces to use to complete the aforementioned CD. They are sonically a bit different -they used John's gear and were mixed and stored on tape, whereas the stuff I did at home was done to a Digital tape format. They also rarely featured Moog or Prophet as we used to joke that 'there is no Minimoog on this JD album' -and there usually wasn't on the demos either.
I wonder if it is a universal truth that musicians rarely throw stuff away -gear or old tapes. Luckily I had not only kept those cassettes but also the Digital tape player, so when it came time to rip the music into a 21st century format it was relatively painless. Listened to with fresh ears, and for the first time in many years it was clear that there was more than enough good material to put together a full CD (and more) from this pool. There was a certain push-and-shove as I re-evaluated tracks, and more when other people heard them, but this is probably the CD that would have seen the light of day back in the late 1990's. The hardest task fell to Ron, who has done a spectacular job evening out the sonic peculiarities of the demo tracks and matching them as closely as possible to my finished ones. I am quite amazed at the final result, and it is probably stronger than it might have been back then. So sit back and enjoy my long-lost second album: Second Site.
 

Artist: Stephan Whitlan
P: 2019
Sw;arf is one continues track that evolves through a number of changes and timbres. A great modular track that brings the listener into a state of endless thoughts. Stephen created this track using mainly analog Modular synths in the unique way only he can. A wizard of sounds and Alchemist of timbres he created a unique 64 minutes of Berlin/Space music!

Artist: Stephan Whitlan
P: 2010
Recorded live at the E-Live Festival October 17th, 2009 Theater De Enck, The Netherlands.

Here the last copy!

Artist: Stephan Whitlan
P: 2009
After many years of musical inertia, he found time this summer to re-invigorate his studio. Some hardware is beyond repair, and some that shouldn't be doesn't work either. But enough equipment did work, and this is the result. It's still very analogue, and as symphonic as ever, but does begin to take a darker turn -leading to the fabulously strange middle movement of 'the twin disortions of residuality & disturbance'.
The CD ends with a beautiful piece improvised onto tape just using the Minimoog & a loop generator. On the whole, the CD takes quite a journey, but hopefully never overstays it's welcome anywhere -just leaves you wanting more.

 

Artist: V/A
P: 2016
'E-Scape 2016’ is a collection of exclusive tracks from the artists performing at the UK E-Scape Festival on 11th June 2016. There’s a varied line up and differing styles on offer, and this CD hangs together very well containing some great spacey and sequenced music. Also included are two demos from Barry Neilsen, showcasing the wonderful Modal 002 synth

Artist: V/A
P: 2019
‘E-Scape 2019’ is a collection of exclusive tracks from artists performing at the 2019 UK E-Scape Festival on 1st June. The music is a varied collection of electronic music of the spacey, sequencer style and it all hangs together nicely as a cohesive electronic music album. David Wright opens proceedings with a concert version of the thematic ‘ReConnected’, recorded in 2019. Next up is Glenn Main with the upbeat ‘Secret Landing’ before things go all ‘Berlin School’ with Axxent Opaque’s ‘Live Sessions 29.3.19’. Infinity Curve present another traditional 80’s style piece of EM with ‘Escaping Infinity’, before we go into experimental space music mode with the wonderfully titled, exploratory ‘Looks Like Rain, Dear’ by E3. ‘Rejuvenation’ by Nik Owen Jones picks things up again with its seductive rhythmic spell. We then move into a great slice of melodic UK electronica with ‘Second Star’ by Wavestar II. The album closes with ‘Always Tomorrow’, another live track from 2019 concerts performed by David Wright & Carys. E-Scape 2019 is a varied and compelling compilation that is sure to appeal to fans of high quality melodic and sequencer styled, spacey electronic music.