Kit Watkins | The Unseen

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United States - Vermont

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World: World Fusion Electronic: Ambient Moods: Type: Soundtrack
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The Unseen

by Kit Watkins

“. . . a summer vacation in a CD, filled with warmth and charm.” —Ambient Visions
Genre: World: World Fusion
Release Date: 

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  song title
1. Morning Mothra
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5:17 $0.99
2. Realm 1
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1:51 $0.99
3. Logarhythm
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8:03 $0.99
4. Kaleidoscopes
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11:31 $0.99
5. Veil of Cool
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6:25 $0.99
6. In the Wake of The Unseen
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7:45 $0.99
7. WindChimes
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3:36 $0.99
8. Climbing Circles
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4:26 $0.99
9. Evening Mothra
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5:17 $0.99
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Album Notes
“. . . a summer vacation in a CD, filled with warmth and charm.” —Ambient Visions

Kit Watkins: VL1 virtual acoustic synthesizer, samples, keyboards, percussion.

“This sparkling album by longtime ambient/jazz composer Kit Watkins is a summer vacation in a CD, filled with warmth and charm. Watkins plays a wide variety of instruments, acoustic, electronically synthesized, and everywhere in between, and gives us an equally wide variety of pieces in this album. Though it’s dated 2000, this work is actually mostly from the mid-90s, with one earlier piece, “Kaleidoscopes” from 1985. There are many fine moments in The Unseen, for instance a somber and rather Roach-like passage of ambient drift at the end of track 3, “Logarhythm,” and a pseudo-Miles Davis “trumpet” solo in “Veil of Cool,” played by Watkins on an electronic sampling instrument which has more range than any trumpet. Other tracks, such as “Windchimes” (track 7) or “Evening Mothra” (track 9) are austere, gentle, and contemplative, leaving the hot rhythms behind in the virtual city for a sound which is as refreshing as a clear pool of shining water.” —Hannah M.G. Shapero, All About Jazz

“It has been a while since Watkins’ last one, but well worth the wait. Traces of ethnic influences, mostly via percussive technique (programmed/sampled, but in many cases sounds so real it’s scary) can be heard on several tracks, with the eight-minute “Logarhythm” being the standout. The opener “Morning Mothra” and closer “Evening Mothra” deserve special note, both gently shimmering and reflective melodic pieces sans-percussion that are perhaps two of his best pieces ever. Highly recommended.” —Peter Thelen, Exposé


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