Music Outpost

Licensing Music on The Sonic Frontier

Recommended track(s) if you like: Phillip Glass

Birdsongs of the Mesozoic - "Ptinct (Excerpt #1)" - Full Length = 4:20

A rolling, two-chord piano riff supports a smooth synth melody, with some slide guitar drones adding a little extra texture.

Birdsongs of the Mesozoic - "Bridge Underwater [Magnetic Flip] (Excerpt #2)" - Full Length = 5:26

Richly captivating minimalism. Lively, descending piano motif supported by wheezy pump organ riff and a counter-melody from a processed drone guitar. The descending motif then gives way to a slower, more pensive piano figure with mysterious, ethereal swoops and glides from synthesizers.

Birdsongs of the Mesozoic - "Bridge Underwater [Magnetic Flip] (Excerpt #1)" - Full Length = 5:26

Minimalism, and a delight. Lively, descending piano motif supported by wheezy pump organ riff and a counter-melody from a processed drone guitar. The descending motif then gives way to a slower, more pensive piano figure with mysterious, ethereal swoops and glides from synthesizers.

Birdsongs of the Mesozoic - "Pulse Piece (Excerpt #1)" - Full Length = 3:17

Driving minimalism. Opens with minimalist figure from synth keyboards, then kicks into rapid, locomotive pulse embellished with repetitive piano chords and contrapuntal lines from synth keyboards.

Birdsongs of the Mesozoic - "Pulse Piece [live; Between Fires] (Excerpt #1)" - Full Length = 4:40

Dynamic, minimalist workout for piano and synths, with spacy electronic treatments adding an element of mystery.

Birdsongs of the Mesozoic - "Scenes from a... [Beat of the Mesozoic] (Excerpt #1)" - Full Length = 5:06

Stunningly beautiful minimalist piece. Poignant piano over machine age rhythms, with a pensive, eerie interlude.

Birdsongs of the Mesozoic - "Waterwheel [Beat of the Mesozoic] (Excerpt #1)" - Full Length = 3:57

Liquid tones of analog synth flow into striking classical piano changes on a bed of poly-rhythmic percussion.

Birdsongs of the Mesozoic - "Final Motif [Magnetic Flip] (Excerpt #1)" - Full Length = 4:02

Breathtakingly beautiful. Redolent with a sense of loss and passing time, a poignant piano motif glides over textured electronic strata.

Birdsongs of the Mesozoic - "Terry Riley's House [Magnetic Flip] (Excerpt #1)" - Full Length = 4:03

Minimalism that mesmerizes, keyboard cascades that captivate. Percolating piano and ascending electronic keyboard melodies writhe and intertwine, evoking the sweep of passing eons.

Birdsongs of the Mesozoic - "Ptoccata [Magnetic Flip] (Excerpt #1)" - Full Length = 3:23

Bach and Bartok collide in cascading piano and electric keyboard melodies over geometric rhythms.

Birdsongs of the Mesozoic - "Shiny Golden Snakes [Magnetic Flip] (Excerpt #1)" - Full Length = 3:07

Concussive electric guitar chords give way to uplifting counterpoint of keyboard and lead guitar.

Birdsongs of the Mesozoic - "The Orange Ocean [Birdsongs of the Mesozoic] (Excerpt #1)" - Full Length = 2:13

Pastoral beauty. A haunting, roiling piano ostinato partakes of equal parts minimalism and Debussy, joined by graceful, uplifting cello melody.

Birdsongs of the Mesozoic - "Magic Fingers (25¢) (Excerpt #1)" - Full Length = 6:08

A minimalist piano pulse supports a languid melody for synth keyboards and saxophones, which then moves into a more abstract dream sequence for rhythmic piano, synths and electric guitar before returning to the opening pulse and melody.

Birdsongs of the Mesozoic - "Pulse Piece (Excerpt #1)" - Full Length = 3:07

Opens with a minimalist figure from synth keyboards, then kicks into a rapid, locomotive pulse embellished with repetitive piano chords and contrapuntal lines from synth keyboards

Birdsongs of the Mesozoic - "March (Excerpt #1)" - Full Length = 2:22

Drums and piano introduce (what else?) a lively march rhythm, with chirpy synth keyboards providing additional texture and counterpoint.

David Borden/Mother Mallard - "for Bob Haskins" - Full Length = 7:17

A crashing cacophony of electronic chimes and other tuned percussion gives way to dynamic cyclical patterns on harpsichord and a sonorous electronic vocal chorus. An electronic organ timbre provides the dominant melody line, first in a high tenor register and then in a deep, resonant bass as the piece concludes.

David Borden/Mother Mallard - "Enfield in Summer" - Full Length = 10:00

Haunting, overlapping melodic drones slowly emerge out of silence, evoking a still, tranquil landscape, with shimmering and rhythmic synth patterns added as the piece builds to an exultant, propulsive finish.

David Borden/Mother Mallard - "Esty Point, Summer 1978" - Full Length = 8:21

A delicate, fluttering note and mellow synth pattern provides a foundation for a blissful, pastoral synth melody and then a soaring electric guitar solo, to which is added an amplified cello and touch of dramatic percussion before the piece fades into silence with the tolling of a single bell.

David Borden/Mother Mallard - "Part 1 (Excerpt #1)" - Full Length = 9:31

Rapid-fire sixteenth-note sequences on Moog synthesizers and wordless female vocals are featured in this dramatic piece, which has the inexorable momentum and subtle variation of a serene but fast-moving river.

David Borden/Mother Mallard - "Part 1 (Excerpt #2)" - full track = 9:31

Rapid-fire sixteenth-note sequences on Moog synthesizers and wordless female vocals are featured in this dramatic piece, which has the inexorable momentum and subtle variation of a serene but fast-moving river.

David Borden/Mother Mallard - "Part 1 (Excerpt #3)" - full track = 9:31

Rapid-fire sixteenth-note sequences on Moog synthesizers and wordless female vocals are featured in this dramatic piece, which has the inexorable momentum and subtle variation of a serene but fast-moving river.

David Borden/Mother Mallard - "Part 3 (Excerpt #2)" - full track = 13:34

Swirling, hypnotic minimalism, with synthesizers supporting a vocal with lyrics which pay homage to famous Renaissance composers.

David Borden/Mother Mallard - "Part 3 (Excerpt #3)" - full track = 13:34

Swirling, hypnotic minimalism, with synthesizers supporting a vocal with lyrics which pay homage to famous Renaissance composers.

David Borden/Mother Mallard - "Part 4 (Excerpt #2)" - full track = 19:46

A three-part piece with an opening slow-paced, thoughtful minimalist section, then a dignified but vigorous movement with female vocal counterpoint, and finally, a moody, ethereal, minimalist structure with plaintive interlocking melodies and a deep, sonorous synthesizer bass.

David Borden/Mother Mallard - "Part 8" - Full Length = 8:42

Bouncy minimalist synth patterns lay the foundation, with complementary melody lines and abrupt key changes adding drama and complexity.

David Borden/Mother Mallard - "Part 5 " - Full Length = 8:10

Tinkling, shimmering minimalist riffs on electric keyboards and guitar are supported by a deep ostinato bass counterpoint. Piano keyboards begin to pound as the piece comes to a dynamic close.

David Borden/Mother Mallard - "Part 6 " - Full Length = 14:22

A chattering, astringent rhythmic pattern on electric guitar is overlaid with a legato melody line and then a deep foghorn bass note. Guitar and sampled brass and tenor saxophone provide intricate counterpoint which weaves in and out of the mix. A restless, sometimes dramatic musical journey.

David Borden/Mother Mallard - "Part 8B" - Full Length = 8:33

Clear, bell-like electric pianos establish the minimalist rhythmic foundation, while bright classical guitar and harp add to the shimmering contrapuntal ambience.

David Borden/Mother Mallard - "Part 7" - Full Length = 7:15

Minimalist electric piano riffs are played off against lively bass counterpoint figures, while sampled violin, as well as organ and harpsichord sounds, add color and texture to this sparkling musical trip.

David Borden/Mother Mallard - "Part 8C" - Full Length = 9:17

Bright, minimalist patterns for electric piano alternate between single and double time, while intricate counterpoint is supplied by plucked bass, vibraphone, horn, and reed sounds.

David Borden/Mother Mallard - "Part Nine" - Full Length = 15:31

A long, stately, minimalist pattern piece featuring marimba-like electric piano, with legato vocalese (wordless vocals) and deep melodic drones supplying counterpoint.

David Borden/Mother Mallard - "Part Ten" - Full Length = 19:00

This long piece opens with a gentle, classically oriented canon which features unison voice and basset horn in an octave interval, with a keyboard bass ostinato providing the foundation. The piece then adopts a more vigorous double-time rhythm with featured solo excursions for tenor sax and then soprano sax. It then eases back into a relaxed groove which features operatic female vocals and alto flute before ending with staccato patterns from the keyboards and a final improvised solo from the tenor sax.

David Borden/Mother Mallard - "Part Eleven" - Full Length = 13:14

A dramatic, stately chordal sequence introduces lively minimalist patterns on electronic keyboards, with a variety of textures and shifting key signatures. Renaissance classical elements are blended with a gleeful, almost circus-like sense of sonic play.

David Borden/Mother Mallard - "Part Twelve C" - Full Length = 5:53

– Slow, moody interlocking patterns played on electronic keyboards, complemented by a wordless vocal refrain, create an atmosphere of dreamy reverie.

Mother Mallard's Portable Masterpiece Company - "Music (1972) (Excerpt #1)" - Full Length = 12:56

After a startling opening sample of a 1950s pop music hit ("put another nickel in") the music charges full speed ahead into an extended up-tempo improvisation for the three keyboards. Lots of interlocking melodic motifs and an overall experimental progressive rock edge, over a pulsing, joyous, mechano-futuristic groove.

Mother Mallard's Portable Masterpiece Company - "Ceres Motion (1973) (Excerpt #1)" - Full Length = 14:45

Magical, ethereal music with a decided dream-like quality, regardless of tempo. Deep synthesizer drones provide initial support for crystalline melodic motifs from the RMI electric piano, which gives way to a lively minimalist rhythmic pattern around which the synth keyboards improvise with subtle grace.

Mother Mallard's Portable Masterpiece Company - "Ceres Motion (Excerpt #2)" - Full Track = 14:45

Magical, ethereal music with a decided dream-like quality, regardless of tempo. Deep synthesizer drones provide initial support for crystalline melodic motifs from the RMI electric piano, which gives way to a lively minimalist rhythmic pattern around which the synth keyboards improvise with subtle grace.

Mother Mallard's Portable Masterpiece Company - "Easter (Excerpt #2)" - Full Length = 19:23

A long, slow-developing piece built around rapid-fire, tuned sequencer pulses from a Moog synthesizer, with pulse tones and timbres undergoing continual evolution throughout the piece. The tuned rhythmic pulse supports a wide variety of melodic patterns and motifs contributed by the other synthesized keyboards. The richness and variety of analog electronic sound displayed on this piece is quite extraordinary.

Mother Mallard's Portable Masterpiece Company - "Oleo Strut (Excerpt #1)" - Full Length = 10:37

Lovely, mellow, minimalist pattern music for three electronic keyboards. The first section lopes along mid-tempo, with just enough counterpoint to keep the mind engaged; the second section eases into a super-mellow, twinkling ambiance, with the Moog synths providing a very credible rendition of a sonorous horn ensemble.

Mother Mallard's Portable Masterpiece Company - "All Set (Excerpt #1)" - Full Length = 7:26

After a jaunty solo synthesiser opening, a synth bass ostinato is added, along with counterpoint from a third keyboard. A Moog synthesizer provides some effective pitch bending, the electric piano contributes rhythmic, percussive stabs, and with the addition of some electronic chipmunk chatter, the overall effect suggests a chorus of cheerful electronic creatures within a melodious sonic jungle. Highly inventive.

Mother Mallard's Portable Masterpiece Company - "All Set (Excerpt #2)" - full length = 7:26

After a jaunty solo synthesiser opening, a synth bass ostinato is added, along with counterpoint from a third keyboard. A Moog synthesizer provides some effective pitch bending, the electric piano contributes rhythmic, percussive stabs, and with the addition of some electronic chipmunk chatter, the overall effect suggests a chorus of cheerful electronic creatures within a melodious sonic jungle. Highly inventive.

Mother Mallard's Portable Masterpiece Company - "Waterwheel (Excerpt #1)" - Full Length = 10:02

Gorgeous, shimmering music that evokes the sonic impression of a waterwheel, with its regular and repetitive motion but also with a playful and random shimmer of cascading water. The opening, jangly, two-note repetitive pattern devolves into a slower motif before hitting overdrive with an extended up-tempo collaboration between three electronic keyboards.

Mother Mallard's Portable Masterpiece Company - "C-A-G-E Part II (Excerpt #1)" - Full Length = 20:21

A deeply meditative, extended improvisation for three synth keyboards with slowly evolving, interlocking patterns. As a homage to avant garde composer John Cage, the only pitches used in the piece were C, A, G and E - although the result is serene and highly musical and not the least bit "difficult" or academic. In fact, it's a lovely, mesmerizing twenty minutes of mellow bliss.

Mother Mallard's Portable Masterpiece Company - "C-A-G-E Part II (Excerpt #2)" - full length= 20:21

A deeply meditative, extended improvisation for three synth keyboards with slowly evolving, interlocking patterns. As a homage to avant garde composer John Cage, the only pitches used in the piece were C, A, G and E - although the result is serene and highly musical and not the least bit "difficult" or academic. In fact, it's a lovely, mesmerizing twenty minutes of mellow bliss.

Mother Mallard's Portable Masterpiece Company - "C-A-G-E Part II (Excerpt #3)" - full length= 20:21

A deeply meditative, extended improvisation for three synth keyboards with slowly evolving, interlocking patterns. As a homage to avant garde composer John Cage, the only pitches used in the piece were C, A, G and E - although the result is serene and highly musical and not the least bit "difficult" or academic. In fact, it's a lovely, mesmerizing twenty minutes of mellow bliss.

Pixel - "Easter Song (Excerpt #1)" - Full Length = 1:15

A very short, hypnotic trance piece with a minimalist arpeggiated riff from the tenor sax and an angelic, multi-tracked wordless vocal chorus from the female singer.

The Kandinsky Effect - ""Petit Loup" (Excerpt #1)" - Full Length = 4:36

The Kandinsky Effect - ""Sad Fly" (Excerpt #1)" - Full Length = 3:33