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Press releases

Next Show: Bateau Ivre, Record Release Party for the new “the seasons” and some live music

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Yes yes yes!

I decided this evening would be a great night to premier the re-mixed and remastered “the seasons.” I will have it on the sound system between 6 and 7 pm. CDs will be available. This is the way “the seasons” was always supposed to be.

After that, I will be hoisting guitar synth & iPad and doing a set of originals and my favorites songs. Should be a great show. Come for some or all of it!

the new cover
the new cover

This image was shot by Kate Zari Roberts. You can see more of her work here. I looked high and low for the right image, found this one on P1XELS. And I kept coming back to it as I continued the search. Finally, I just knew it was the one. Shot and processed on iPhone of course!

Press

Great article about Pixels At An Exhibition in the paper

I woke up this morning and was promptly alerted by a friend that the Oakland Tribune had a big feature about the iPhone photography show I put together with the Giorgi gallery in Berkeley. What a great article it is!

Jennifer Modenessi, art and culture writer for the Bay Area Newspaper Group, writes:

While hundreds of the cell phone camera’s fans are passionate about their medium and flock to Web sites such as flickr or use blogs to share their photos, iPhone photography is still very much on the fringes of the mainstream art world. So using a selection of grainy, artful images from his Web site, Bronson and Oakland resident Rae Douglass have mounted “Pixels at an Exhibition” at Berkeley’s Giorgi Gallery, which they believe is the world’s first gallery display devoted exclusively to iPhone photography.

Submitted by both seasoned and amateur shooters from around the world, the iPhone photos capture fleeting instances such as a bird momentarily resting on a cafe table or a surfer riding a wave. Some, such as Valerie Ardini’s black-and-white shot of a couple in the rain, recall traditional street photography. Others, such as Marty Yawnick’s colorfulshot of a dusty Texaco gas station, are all about design and composition. Many of the images bear the distinctive look of photo apps, or software programs created specifically for the cell phone cameras. They allow users to creatively manipulate their photos to approximate the look of vintage nondigital equipment, toy cameras or other special photographic effects.

Read the whole article here.

Thank you, Jennifer!

Press

New York Times article about iPhontography and the Giorgi Show

It goes to show … you never know what is around the corner …
I am happy to say that my site http://iphontography.org and the gallery show we are putting on at the Giorgi Gallery in Berkeley (Opening January 30) got a write-up in the New York Times.

A San Francisco Bay Area gallery is testing that idea with a photo contest that asks people to submit their artiest iPhone-taken pictures. At between 2 and 3.2 megapixels, depending on the model, the iPhone has a weak camera compared to competitors. But Giorgi Gallery, which is running the competition, says, “The eye of the artist is always more important than the technology in the creation of beautiful art.” Two hundred winners will get prints of their photos shown at an exhibition in Berkeley next month.

Interviews

Interview with Live, Love, Health Talk Radio

On Friday, August 31, a short interview with yours truly aired on the Life, Love, and Health show, part of the Health Radio Network. Christopher Springmann, the interviewer, is former photo-journalist, an ace raconteur, and a thoroughly charming gentleman. I’ve listened to the interview a couple times (the first time was the broadcast and I was in a bad-reception area, so it was cutting out). I am not thoroughly embarassed.

Click here to listen.

Press releases

Press release for “the seasons”

covercomp1Dedicated to bringing back the golden era of pop songcraft via a unique mix of rock, electronic and classical influences, Knox Bronson has long subscribed to the whimsical spiritual notion that “we don’t write the songs. They already exist, flying all around us all the time. And with a little luck, patience and discipline, we are able to catch, as Bob Dylan put it, something worth sharing.” On his inspiring new all-instrumental recording The Seasons, the multi-talented Bay Area based singer, songwriter and composer expands beyond the powerful pop songcraft of his 2008 release Pop Down The Years to create a magnificent and sweeping four movement electronic symphony.

In his pop-rock work, Bronson comes across much like The Beatles filtered through Bowie, with some Donovan, French impressionist composer Claude Debussy and the legendary German electronic band Kraftwerk added for good measure. The Seasons expands upon the Debussy part of that creative cocktail, offering four compelling 15 minute movements that develop and blossom as thought provoking and contemplative pieces representing each season of the year: “Summer of ’68,” “Autumnal Sun,” “Winter Blue” and finally, “The Forever Spring.” Inviting the listener on this powerful journey along with Bronson is a real life Victoria Secret supermodel, dressed beautifully and seductively in various images on the CD cover and throughout the artwork.

While Bronson, like many composers, enjoys allowing longtime fans and listeners new to his musical experience create their own interpretations of his pieces, he’s happy to provide a little guidance as his fascinating musical calendar rolls along. He calls the historical “Summer of ‘68” “the last good summer” and as the piece rolls along, it reflects this beauty and innocence with the most ambient vibes on the collection. The piece evokes a pleasant afternoon, as if sunning on coastal hills  (the cd opens and closes with washes of stylized synthesized waves crashing) and enjoying the calm as a warm summer day floats along. The moodier “Autumnal Sun” captures through a unique array of keyboard and symphonic sounds the subdued colors of autumn. Overall, it’s melancholy in nature, but not dark—it’s more about the shifting tides of life and even has a bright passage with musical impressions of a “sprite,” a preternatural legendary elf-like creature (like a fairy or dwarf).

Bronson next enters the “Winter Blue,” which begins with and employs as a rhythmic foundation a repeating electronic arpeggio-like “heartbeat monitor” type sound. In certain places, he adds strings and horns on top of it and creates the feeling of whipping wind and falling snow. As the track progresses, everything else falls away and the lisener hears only the sound of a synth violin holding a sustained high note. Though the piece was written during a dark period in Bronson’s life, he is an optimist by nature, and that long note represents a bridge out of the spiritual darkness and into the light. It is the turning point of the whole project, which concludes with “The Forever Spring,” a more exuberant, “rain and guitar” piece that expresses the image of electronic shoots coming up from the ground as the energy of renewal gathers in the earth and ultimately bursts out. But even with the overall uplifting nature of this track, Bronson embeds occasional undertones of nostalgic wistfulness as well.

“I enjoyed drawing upon all of my pop and rock influences to craft the songs on Pop Down The Years,” he says, “but on The Seasons I really wanted to write something of more emotional and spiritual depth that people could listen to for a whole hour straight, either as background music or as a focused emotional experience…a unified piece that takes the listener on a real journey. I have been told by a number of people that it is a great record to make love to.”

If Bronson’s unique approach seems like a throwback to 60s and 70s–a tribute to the old school way of composing and producing–make no mistake, it’s purely by design. He came of age in those days and can remember a time when music mattered, the roots of rock were blues and the Brill Building and Tin Pan Alley influences ruled the charts. After recording two previous classical/electronic driven albums—including Deus Sex Machina and Flight Of The Atom Bee, a companion piece to his novel Flapping (both cds will be rereleased later this year)—he returned to his lifelong love of pure, heartfelt songwriting. His goal: to maintain that level of composing while blending in and exploring the unique tonal colors made possible by today’s incredible technologies.

“The Seasons is a journey, brought forth from my own experiences, a work born of despair and spiritual desolation at a very difficult time of my life. What got me through was the ability to go down where the music was is, as storms above raged. What was brought forth documents a path from an earlier innocence into the abyss and, most importantly, back out into the light again. The music itself was the bridge that carried me across. I tried to instill each piece with its own colors, motion, and evocation of place and time. You can listen closely and let your own images come forth, or you can let “The Seasons” carry you along in its dreamy way. Better yet, cuddle up with someone you like and go with the flow.”

Reviews

Other reviews of “the seasons” from around the web

covercomp1Click here: THE BLARG

Knox Bronson “The Seasons” – A beautiful and brilliantly mastered four-track instrumental work that bridges the gap between the orchestral and symphonic, and the subtle digital realm of acts like Plastikman. Each track (coming in around the fifteen-minute mark) represents a different season, and Bronson has somehow managed to rip apart summer, fall, winter and spring, and put them back together in the form of a song. One of the best of this batch.

http://skopemag.com/2009/02/23/knox-bronson-the-seasons

Mix electronic, classical, ambience and pop and you have the new, innovative piece by Knox Bronson in The Seasons.  Even adding that symphony orchestra element to the background, Bronson takes you on a hypnotic trip.  Bronson is the singer, songwriter and composer who brings you four excellent installments that run for an average of 15 minutes.  All instrumental, the album is one to listen close to with true meaning behind each creation of sound.
On the cover you see an attractive woman unclothed with her legs in the air and arms covering her private essentials.  Definitely an eye-catcher and this beauty is actually Victoria Secret supermodel, Amber Myles Arbucci.  She can be seen on the back along with inside the contained artwork displayed in different poses.  The true essence can be seen from the cover because she seems completely at peace with herself and her body.  Her eyes are closed and she lays there on her back without a worry in the world—carefree spirit if you will.  The ironic part is that this seductive portrait of Arbucci actually captures the pure emotion of the album.  That raw emotion being peace and tranquility is the premise of the record.
The Seasons is just that; inviting you to experience each turn of the seasons one by one.  The album starts with “Summer of ‘68” and ends with “The Forever Spring” taking the listener on a magical journey.  Bronson offers a whimsical quality along with a strong spiritual well-being that resonates throughout the composition.  Each song signifies not just the spirit of the seasons, but also the spirit of Bronson inside.
Knox Bronson

The Seasons

Bullz-Eye Magazine
By Jason Thompson

How exactly to peg Knox Bronson? Perhaps we shouldn’t and just let the music speak for itself. On this album of four extended pieces, Bronson mixes jazz-like passages with electronica, sometimes almost pushing it into a trance realm, but not quite. It’s too sophisticated for that sort of programming, and that’s definitely a plus. What it is definitely is languid and spatial, with “Summer of ‘68” and “Autumnal Sun” being completely wondrous works of music. If there’s a misstep here, it’s only in “Winter Blue” and only because it’s the one spot where the music doesn’t live up to the prior cuts, sounding a little too syrupy at times. But things get back in the groove with the closing “The Forever Spring.” Consider it Vivaldi for 2009, if you like. And if you don’t, there’s still a pretty lady all over the CD’s art in various stages of undress.  Ooh la la.

Interviews

The OakBook Interview for “the seasons”

Original article here.

Oakland is the Bay Area capital of art and music. Knox Bronson, a local musician, has spent the last few weeks putting the finishing touches on his latest CD, The Seasons. If you’ve heard his music before, you know it’s eclectic. It’s very 60s. It can also be very contemporary. Regardless of what else it is or isn’t, it’s more often than not the story of his redemption. Here are excerpts from a chat with him:

OB: When is the CD coming out? And what’s the distribution looking like?
KB: I think probably the target date is Feb 14, Valentine’s Day. We’re going to do digital distribution – iTunes, Amazon and other places. I’ll send CDs to CD Baby and places like that. I expect to get them in local stores pretty quickly. The business is changing rapidly.. The business part is always a mystery to me. SMC Recordings, a hip hop label that has distribution with Fontana and Universal, does it for me.

OB: Where are you from, Knox? Are you from the Bay Area?
KB: I’m local. I graduated from Berkeley High school. My family’s been here a long time. I’ve been here my whole life pretty much.

OB: So when did you get into music?
KB: I’ve been a musician since I was .. I started when I was in 5th grade, studying the trumpet. When I was a teenager, I picked up the guitar. I taught myself how to play the guitar with Beatles song books. When I was in high school, I had a French teacher who introduced us to the Impressionists. That’s how I got into classical. I love the Beatles, David Bowie, Pink Floyd. In the 70s, I fell in love with electronic music.

OB: So did you have a career in music?
KB: In my early 20s, I would practice guitar for 8 hours a day, and then it was party time. If you’re partying like David Bowie..

OB: You got into alcohol and drugs?
KB: It got serious. It took over for almost 20 years. Then I got sober in 1990. I was so burnt out. I was about three years sober when I remembered I used to love to play music. I had a synthesizer that someone paid me for some work I’d done in the 80s. I had a Roland keyboard. I started making music again. I started buying gear. I had to learn about recording and arranging, and that’s all I did for years. I was working. But every spare moment, I was doing music. I always heard music in my head, but I always wanted other people to play it for me. I wanted Pink Floyd to put that album out. What happened since I started working on music again — I began starting to get the music again. I have to stress that I’m of the school of thought that we don’t really create the music. It already exists. If we’re lucky, we get to channel it. It’s about learning how to arrange and use the technology.

OB: Tell me about the CDs you’ve done..
KB: The first couple of CDs I did were pretty electronic, very beautiful. Those were– Flight of the Atom Bee and Deus Sex Machina. I then started working on vocal music. And then a few years ago, i started working on The Seasons. I was trying to come back and do a true fusion to combine electronic and classical music and not just overlay one on top of another. I’m very happy with the CD. Three pieces on the CD written at a very difficult time.

OB: Why was it difficult?
KB: I was down in LA, I didn’t have any money. I was staying at a friend’s house, things were very bleak. I’d had to give up my place up here. It was just a weird time. I wrote these pieces. When things get really intense, I write. That’s what I do. It’s my refuge. if you listen to the pieces, you’ll see the progression. There’s a part that gets very.. it’s like a bridge.. bridge out of the darkness into the light. I have a 4th piece — very pretty, dreamy piece. It’s an hour of music — 15 minutes each. It’s about romance.. about getting out of the darkness back into the light. That’s been my life. I spent many years in the dark world and then I got out. It’s been quite a journey. I’ve seen a lot and I try to put it all into my music. Everything I have goes into my music.

OB: What’s your day job?
KB: I’m a designer. I’ve done graphic design for many years. I do a lot of web stuff. I call myself a designer..

OB: How’d you get a Victoria Secrets’ model involved with your project?
KB: We met on MySpace. She sent me a letter saying she liked the music (myspace.com/sunpopblue) especially the excerpt from Winter Blue, which is on the CD. I kept looking at her pictures and I kept thinking I must somehow get her to be on my cover. I sent her my CD.. She really liked it. She mentioned she was building a website. I asked her — this is totally out of line, but would she pose for my cover if I built one of her websites. She said yes.

OB: Your press releases always mention the 60s and the 70s and the influence they had on you.
KB: Back then, there was more time, less economic pressure. There was more room for experimentation. It’s getting better again, but in some ways, DJs and club culture have thwarted.. there’s not a lot of song craft in that stuff. It’s about vibe, hook and melodies had fallen by the wayside, somewhat. But I think that it is turning around. The way they render music now is so compressed and loud that by the time you’re on the third song, you’re suffering from ear fatigue.

Then, artists had more time to develop. But back then, I don’t know how I would have done this. I would have needed an orchestra. Now, I get the choir in my Mac. And I feel music occupied a different place in people’s life. People really believed people could change the world.

OB: But they still believe that.. Look at the singers singing about political change.
KB: I like Eminem. My sons are 25 and 27. I think Eminem is their John Lennon. He’s a very bright guy.

Reviews

Bullfrog on “Pop Down The Years”

popdown_cover_72dpiKnox Bronson is a Bay Area-based singer-songwriter who has used this release as a way of revisiting the 60s and 70s and making a tribute to the old school way of composing and producing.  More than that, he’s looking to re-invoke the days when music seemed like the doorway to all things right and beautiful.

He has done all the programming work himself, written and arranged the songs and sung them too (with some help from chanteuse Angie Harnell…note to Knox, next time, give her a bit more space to strut her stuff).  Sometimes, when an artist gives himself all the tasks, he loses sight of the goal and the album’s focus drifts.  Not so here; Bronson keeps his inner eye on the ball and delivers a piece of work that harks back to good times of Donovan and the Moody Blues, but maintains a foot in the here and now.

Bronson is the kind of guy who’s seen it, done it and even has the t-shirt, but gave it back.  He is literate, mature and thoughtful and this comes through in spades in this release.  He’s here to speak his truth in quiet, authoritative terms.

Bronson has a voice that reminds one of David Bowie in his good years.  He doesn’t have an especially melodious voice, but it is pleasant to listen to, authoritative and solid.  The music and lyrics flow around our ears, drawing us into another place.

The only cover song is “Celeste”, originally written by Donovan (and done better by Bronson), but we are treated to “Pop Down The Years”, an evocation of the days when the intellectual and the psychedelic could co-exist in the same song.

Summary: Get this album.  For mouldy oldies, this music is a throwback to the “good ol’ days”.  To the young and hungry-for-the-new, this release will come as a revelation.