New creative music can mean many things to different people. It's an opportunity for the artist to find new ways to express himself. Interpreting the results may leave many paths for the listener. It's a personal decision.
Ted Killian's compositions fall into the realm of "space" music. Outer space may contain programmed loops, noise, and electronic pulses. Some of it is random and some of it is not. To this, Killian adds forceful guitar phrases. They're meant to intimidate. They're meant to shock you. And they're meant to provide you with the means to "let yourself go." After all, aren't many film soundtracks filled with the same kind of mystery?
A guitar strikes familiar sounds. All over the world, folks are comfortable with its timbre. From its most piercing cries to its most mellow tones, the guitar's vocabulary can handle every hue. While Killian stays with a science-fiction pattern through much of the session, his imagination does wander far and wide. Elongated tones squeeze and ooze through tunnels of sound. Close your eyes and watch the clouds go by. You won't be dreaming about gentle flowers and grasses that sway in the wind. This music is alive with action. Imagine a gunfighter staring down Clint Eastwood, or a Vulcan preparing to land on 21st Century Earth. Killian's creative music has a charming effect. It won't lull you to sleep. Instead, it will provide you with hours of varied sounds that stimulate different memories each time out.
I love jazz because it swings.
I was first exposed to jazz in Houston.
I met Joe LoCascio and Bob Henschen.
The best show I ever attended was Pat Martino.
The first jazz record I bought was Time Out by the Dave Brubeck Quartet.
My advice to new listeners is to relax on 2 and 4 beats.