Audio Collection
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1000 Years and 1 Day
Ambo
Singer/songwriter, Keith Moore, and soundtrack artist, Robyn Miller, combine their styles on their debut album, 1000 Years and 1 Day, to create a highly listenable and strangely visual combination of songs.
Collection Contents
| # | Title | Length | ||
|---|---|---|---|---|
| 1 |
|
Slow Motion | 4:13 | Play |
| 2 |
|
Vapor | 3:40 | Play |
| 3 |
|
Cocoon | 4:39 | Play |
| 4 |
|
Blindness | 3:19 | Play |
| 5 |
|
Ever After You | 5:41 | Play |
| 6 |
|
Lips | 4:17 | Play |
| 7 |
|
Kissing Free | 2:24 | Play |
| 8 |
|
End of Me | 3:17 | Play |
| 9 |
|
Eden I Am | 6:19 | Play |
| 10 |
|
Bluebird | 1:43 | Play |
| 11 |
|
Is Blood | 4:25 | Play |
Items may be purchased individually.
Contributors
Royalties
See the payment distribution when this media is bought.
| Description | Amount |
|---|---|
| Bitmunk Marketplace Service | USD $0.98 |
| CD Baby Artist Royalty | USD $5.97 |
| CD Baby 9% Digital Distribution Cost | USD $0.54 |
| Bitmunk Download Service | USD $0.56 |
| Bitmunk MicroPayment Service | USD $0.01 |
| Total | USD $8.04 |
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Description
A couple years back, Keith Moore and Robyn Miller were both at the end of their creative ropes. And so, they decided to do something outrageous... make an album together. Outrageous because Moore is a singer/songwriter and his previous albums have been explorations of Southern musical traditions. Miller, on the other hand, has stuck to ambient-electronic soundtracks (Myst/Riven). "Combining these two sounds at first seemed like a crazy idea," says Miller, "we'd never considered making an album before, I think because our individual styles are so dramatically different. But at a certain point we realized there could be a strength in this contrast. Something new, something outside our control, might form." And so, they took the plunge into 1000 Years and 1 Day.
The conceptual nature of the album can be most easily seen in its title, 1000 Years and 1 Day. "It's just the idea that there's something, or someone, plodding along doing nothing but the routine for what seems like forever," explains Keith, "and then, one day, unexpectedly, he's slammed into a wall that wakes him up and brings him back to life." Moore and Miller go on to explain that this sense of story grew so strong; soon the songs began to fall into three separate groupings, each with a different sonic and lyrical character. "About halfway through the recording process, we began to refer to these parts as 'acts.'" says Miller, "Throughout it all, we clearly felt as if another person was taking this journey. It was their story - they were singing and writing these songs... not us."
It's 5:30 a.m.. Moore is already up and out, taking care of his farm and horses. It occurs to me that this must be a radical departure from his long hours in the recording studio with Miller. I ask him about this, but his answer surprises me: "No, it's all the same thing - this farm, our music - it's just carving away at something - something you believe in - having no idea how it's going to grow around you. You're just working with something wild. You can't just force it; it's like that horse, or that tree. That's how it is with a song; you got to let it live, let it breath, before it'll ever stand on its own." He pauses for a moment, and I follow his gaze out over the slow-as-molasses mist below us. Nothing seems wild here. It seems peaceful - calm. And I barely hear him continue, "That's what it's like. That's how it's been."
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