This album includes 5 main tracks (Tamuke, Sokkan, Shingetsu, Choshi, Daha) composed mostly by unknown Fuke monks who played each piece during meditation.

After careful and repeated listening of these pieces, the spirit of each one reached deep into the soul of both listener and player, making it possible to imagine the various improvisations of bumblebee sound, ostinato, a simple melodic bass pattern matching the shakuhachi monody, like the early practices that appeared successively in the Western music history, going from modal structures to polyphony. The choice once made, gave rise to quite a natural voice, guided by the addition of bass lines while preserving the shakuhachi part in its entirety.

The voice is here utilized as an instrumentally, illustrating a quote from Rudolf Steiner: "The pure song should delete every word" In addition to the five main shakuhachi classics, other tracks are divided between improvisations, reappropriation and composition:

1. Tamuke "Ta" means hands, "Muke" means facing each other, or hands put together, which indicates solidarity within oneself and one's community. In solidarity we experience unity and in unity we experience transition and movement of energy from one body to another. This piece is played to commemorate the transition from one phase to another. It is also a eulogy and a requiem for the departed souls of loved ones. It is a melody that brings indescribable stillness deep into the heart.

2. While High - Improvisation

3. Sokkan - This piece can be translated as "breath-sight". It is played as a meditation and observation of the process of breathing the most essential human activity. When breath is observed, respected, and self-controlled, harmony and peace begin.

4. Transcend to Void - Improvisation

5. Shingetsu - "Shin" indicates the heart, the mind, and the spirit. "Getsu" indicates moon. The moon is symbolic of enlightenment and one's discovery of the truthful and sincere pathway in life. There is a certain level of effort that one must exert in order to cultivate, toil and refine diligently one's excellence and purity in mind, body, and spirit.

6. Secret - Improvisation

7. Tsukikusa - Improvisation

8. Choshi - "Cho" is refers to "searching", and "Shi" is refers to oneself. This piece is played to allow the player to tune to the instrument and the surrounding. It is the joining of Mind/Spirit/Instrument at the beginning of each meditation session.

9. Morning mist - Improvisation

10. Greensleevses - traditionnal English (Henry VIII)

11. Daha - "Da" means to tear apart, to break and to strike, "Ha" means wave. The striking waves along the seashores are a symbol of the infinite adversities that we need to overcome in our daily lives. Yet, the constant pounding of the waves along the sea rocks provides a constant process of cleansing and rejuvenation. Daha is played for the increased will power, humility, and determination to overcome those adversities. A peaceful dream

- Kyle Kamal Helou

While continuing the exploration of music for land and water, this volume of instrumental downtempo/ambient electro-acoustic music expands the instrumental palette used in the first volume and strives to dig darker yet shine brighter.

This album is a continuation of the previous volume and its focus on beat-driven acoustic songs but with a stronger focus on heartwarming pop melodies. Volume 2 sweeps its way across 10 songs using a mix of live and programmed instrumentation mixed together with delicate precision. Finger-picked guitars ring out, bells twinkle and chime, Rhodes piano echo softly while moog synths resonate and wash over this aural landscape.

Songs like Persian Tales, Time To Time or Rain In Brain form the heart of the album with strong and powerful riffs. But this album explores many faces of Heavy Metal: faster tempos (Blaster), some ballads (New Shell, Final Nightmare), an instrumental music (Megahertz) and rock-oriented titles (Free). This is explained by the heterogeneous influences of the band (Metallica, Iron Maiden, Foo Fighters, In Flames...).

A large amount of room is given over for melodies especially Bruno Creuzet's solos which are precise and inspired, and the bass/drums duo which give a good foundation to the riffs. The rhythm guitars are savage or calm depending on the song. Although it's a Metal album, it remains accessible for the neophyte or Strong-Rock lovers.

"Dead Frequencies" is the first album of Marker Beacon and is self-produced by the band.

Bread and Circuits is a collection of some of Kalabi's earlier work, including some remixes of earlier tracks. Some of these tracks date back to over ten years ago, yet still sound fresh today.

The signature Kalabi sound of warm bass and layered ambience is here; high end production with soulful song writing.

Native Unit was Eric's first entry into the genre of World Music. Eric got a two week break in his producing schedule of young R&B singers and rappers, and took several tracks he had created for those projects and experimented with using his Spanish guitar along with the tracks - no singing, no rapping. 'I was fascinated by what came out! I didn't really take it too seriously at first, but upon listening, it sounded pretty good to me ... and importantly, it was clearly 'its own thing.' It was def not the Gypsy Kings, nor Ottmar Liebert. I didn't really know how to describe it - other than to say it was a fusion between R&B, Hip Hop and more traditional music from around the World - mostly the Mediterranean (Spain, Greece Turkey ... where I had spent a lot of time over the course of my life.'

'Timidly, I put 4 or 5 of the tracks on Myspace (this was 2006! .. when Myspace was the rage) ... and was shocked by the results. Within several months, I had accumulated 1/2 million fans! ... and numerous notable Awards and much other critical acclaim (for example - Best Instrumental CD of the Year Award from www.musesmuse.com ... plus numerous very positive write-ups in the press and on the Internet).'

I appreciated that I had hit a nerve by merging a contemporary vibe with more traditional music. Young people (14-17 is my biggest demographic on Facebook, ReverbNation et al!) could appreciate the more traditional acoustic World Music because it was packaged along with some very kool contemporary beatz ... and older people could appreciate (or at least tolerate LOL) the modern beatz because the music itself was so touching.

'As a kid, success meant getting a gig in one of the well-known clubs in lower Manhattan. Never in a million years did I ever imagine the day would come when tens of thousands of young kids, from Indonesia, Turkey, Mexico etc ... would be sending me such loving and supportive comments and emails.'