Per Boysen | Beyond the Beyond and Further Beyond...

Go To Artist Page

Recommended if You Like
Mark Knopfler Michael Hedges Vangelis

More Artists From
SWEDEN

Other Genres You Will Love
World: Scandinavian Classical: Film Music Moods: Instrumental
Sell your music everywhere
There are no items in your wishlist.

Beyond the Beyond and Further Beyond...

by Per Boysen

Instrumental music for electric string instruments in orchestration.
Genre: World: Scandinavian
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Sign up for the CD Baby Newsletter
Your email address will not be sold for any reason.
Continue Shopping
cd in stock order now
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
clip
1. Is Right Here Right Now
4:27 $0.99
clip
2. Biotope
3:21 $0.99
clip
3. I.R.L.
4:14 $0.99
clip
4. Greensleeves
2:42 $0.99
clip
5. Reflush
3:00 $0.99
clip
6. Gnossienne No. 1
3:47 $0.99
clip
7. Nakhla
3:10 $0.99
clip
8. Horizon
4:35 $0.99
clip
9. Closer Than Ever
1:46 $0.99
clip
10. Topaz Refined
4:17 $0.99
clip
11. Henry the Seal
2:52 $0.99
clip
12. Henry the Seal in Love
3:00 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Instrumental music by Per Boysen for electric string instruments in orchestration. The 12-stringed Chapman Stick Guitar is in focus, joined by instruments like the Cello, the Fretless Harp Guitar, the Steel Guitar and the ordinary 6-stringed Electric Guitar. And some sparse string orchestra sweetening.

Big thanks to Emmett Chapman and Tim Donahue for inventing and building magical music instruments! Blending in orchestration, many instruments - one voice!

The Stick is like a space instrument from the future! In my instrumental solo Stick concerts I’m blending Scandinavian ethnic music from passed centuries with original space age interactive electronics. I design my own performance system as a “meta instrument” that allows me to instantly compose and arrange on the spot. (Per Boysen)

__________________________________


“Among the many festival highlights was Swedish guitarist and flute/wood-wind player Per Boysen’s Jon Hassel-like soundscapes” (Guitar Player Magazine, USA)

“Per Boysen’s live looped ambience music with layers over layers of sax- and flute melodies was a real experience, and it was obvious that he is utilizing the electronics as his personal expression without being a slave to the technology.” (Smålandsposten, Sweden)

“Boysen has become an icon of as many bizarrely named pseudo-categories as inventive journalists could come up with. His prerogative of “liking music, but not genres“ has fueled his ongoing “search for “unplayed music“ – which is uncompromising in its strive for fresh emotions, but doesn’t shy away from audience appreciation either.” (Tokafi.com)

Per Boysen has performed many shows around Asia, Europe and the US – both as a solo performer, in duets and with ensembles. Appearances in general public areas as well as at world famous institutions like the Norberg Festival, Présences Électronique or the North Sea Jazz Festival. He is also active as a media music composer, having produced recordings of surround music, mixed records for bands and creative remixing for special record label releases.

_________________________________


This album is a solo project and I'd like to give credits to all the wonderful electric string instrument I was using to create this music:

1) The Twelve Stringed Stick Guitar, SG-12.
The 36" scaled Stick has been around since the early seventies and often used for bass parts on records (Peter Gabriel, King Crimson...). But this little 26,5" scaled two-handed fretboard tapping instrument offers a rather different tone. My gratitude reaches out to Emmett Chapman for inventing the Stick in the sixties and for putting down the hard labor to develop and manufacture it all since 1974. Check out Stick Enterprises at www.stick.com

2) Electric Cello.
This low price cello model was designed by Ned Steinberger, that used to make guitars before. It doesn't use electro magnetic pickups, like the Stick and electric guitars do, but some other construction that offers the player to flip a switch to optimise the tone pickup for bowing vs finger plucking. I use both ways of playing in these recordings. My NS cello is the five-stringed model.

3) Fretless Harp Guitar.
This is a wonderful music tool! A fretless ebony board neck with six strings and also six freely twanging harp strings. Both 6-strings groups have EMG electro magnetic pickups and may drive two different amplification rigs, if you like it that way. The harp side does in fact have one "fret"; if moving away your left hand from the fretless neck you can push down any harp strings towards the fret to raise the pitch by a half note. What makes this harp guitar different from traditional harp guitars is that the harp- and neck string groups are tuned in the same octave (traditionally harp strings are bass strings). Doubling notes for a unison sound or plucking close clusters are techniques I love also on the Stick Guitar.

The man that brought this lovely instrument to the planet is Tim Donahue. He built his first prototypes in the early eighties and still plays the TDHG better than anyone! Tim lives in Japan where he leads manufacturing of these guitars. www.timdonahue.com

4) Steel Guitar.
Mine is the Dusenberg Fairytale lap steel model that has two levers that will let you soar into those classical country licks without having to deal with the monstrous pedal steel guitar. I use a heavy steel on the strings which initially felt a bit awkward compared to the feather light glass-slide-on-finger treatment I'm used to give my vintage style Stratocaster.

5) Electric Guitar.
Not much to say about this one, I guess. My oldest premier instrument now used on only one track out of this album. I still love guitar but use it quite rarely these days. You know, sometimes it just sounds so... guitar-ish that it almost kills the music.

6) Fractal Audio AxeFx II.
This is the very catalyst that unleashes the magic! If you have ever loved the sound of driven tube amps and dusty speaker cabinets this digital modelling device is loaded with the classic models and some new. It also offers great classic effects and best of all: it will let you patch up different components into a combined amp-cab-effects rig system and develop your own custom patches. Took me about a year of intensive use to get into all of its virtues. Can't hail this box enough, it is almost too good to be true. What a sound! What a great vibe to play through it! It not just makes all my electric instruments sound good, this amp also maximises the dynamic feel in physically playing string instruments. I'd say that the experience of playing through the AxeFx is that you suddenly gain access to a much wider spectrum for expression! Small moves on the strings makes a bigger difference sonically.
tags

_________________________________


Below follows my short technical notes on what it is that you are hearing on each of the album's pieces.

1) Is Right Here Right Now
The 12-stringed Chapman Stick Guitar SG-12 played with interactive electronics by simultaneous foot pedals control. Electronics enters during the free improvisation part starting about half way into the track. The title of this song is commenting on the album title.

2) Biotope
Electric Cello performance utilising live-looping for layering and instant composing.

3) I.R.L.
Recorded as a performance with the Stick Guitar SG-12. Then sweetened by a few overdubs adding strings and drums.

4) Greensleeves
Recorded as a complete Chapman Stick SG-12 performance. Then I added my Electric Cello as an overdub to give a little more depth to some parts.

5) Reflush
Behold the Steel Guitar, a lovely instrument! Mine has two levers so I can slide two strings one or two half notes while still letting the steel glide over all six strings. The bass and synth lines surrounding the steel guitar were all created in Logic X. Since this album already had so many purely melodic pieces I decided to make the experiment of recording this piece with its original melody part left out.

6) Gnossienne No. 1
Chapman Stick SG-12 performance. I fiddled around with effects during the piece to play with a bit different sound in each part of the song. Not sure what Eric Satie would have thought about that... as his version for solo piano is rather minimal, sonically.

7) Nakhla
Tim Donahue signature Electric Fretless Harp Guitar. For the backing bass line I used the Chapman Stick SG-12. Oh, I almost forgot to tell that I added the Electric Cello as an overdub - in fact two of them to play harmonies.

8) Horizon
Electric Guitar - I just love it! The first instrument I learned to play. But also an instrument I found limiting regarding finding my own voice. After leaving guitars in the closet for a long time I have now picked up the axe again and today it feels fresh to play. This 200 bucks hollow body Epiphone of Les Paul style is modified by me with Lace Alumitone pickups - all in an effort to reach a particular "Gretsch sound" that I had many decades ago when using a Gretsch Roc Jet model guitar. Added Cello as overdub and I also played the bass line on the Cello. You got to love that Paul McCartney bass sound this cello gives!

9) Closer Than Ever
Chapman Stick SG-12 with Electric Cello overdubs. One rainy day I felt an urge to make some music that honors a type of harmonisation I've heard Ennio Morricone using... somewhere (can't remember in what movie actually). This piece came out almost instantly but I had to struggle to perform it on guitar. When I got a Stick a few years ago I found that this piece could be played in a much richer way on the Stick.

10) Topaz Refined
Chapman Stick SG-12. I think this recording shows one aspect of the Stick that I love very much: that you can play both melody, harmony and bass parts at the same time using both hands on two fretboards. Recording this song that way made it possible to not use a click track but to rather sway around a bit in tempo and taste different emotions. By the end of the piece I improvised so much that I almost lost it there, but pulled back on track by leaving vibrating double stops to ring out in one hand so I could concentrate more on the other hand's accuracy. An accident that turned into something nice.

11) Henry the Seal
All parts played on the Chapman Stick SG-12. But I think the real star of this track is the Fractal Audio AxeFxII amp/multi-fx device! This modelling amp made it possible to layer a balanced sonic texture of classical guitar amps and cabinets.

12) Henry the Seal in Love
What can I say - poor Henry is such a bizarre character that I felt obliged to give him a second chance on this album. The last part of "Henry the Seal" came out quite dense as a "wall-of-distorted-guitars thing" so that led me to the idea of now putting Henry into a more lofty situation where he falls in love with some fairy mermaid to a backdrop of a soft piano and high sweet softened strings.

Read more...

Reviews


to write a review