The Interstellar Suite 25th Anniversary Edition Amin Bhatia
- Introduction and March
- Main Theme
- 2The Ship02:47
- Mission Control and Liftoff / Jumping to the Speed of Light
- Opening the Airlock / Weightless / Retrieving a Satellite
- 4Walking in Space05:53
- Intruder Alert / The Attack
- The Beacon / A Damaged Ship / The Loneliness of Space
- 6Distress Signal05:54
- Formation and Rescue Theme / Dive / Arrival at the Alien Fort
- 7Rescue Fleet05:57
- Planning the Attack / Return Fire / The Last Missile
- Test Tones only for surround download (no pre listen)
- 10Test Tones LCR RS LS LFE01:00
Info zu The Interstellar Suite 25th Anniversary Edition
The Interstellar Suite, remixed by award-winning producer/engineer Frank Morrone, has attained cult status in both electronic and progressive rock music circles in the 25 years since its initial release. Even the late legend of the jazz piano, Oscar Peterson, hailed Bhatia’s music as “... a breath of fresh air in the world of not just synthesized music but music as a whole.” Steve Porcaro, keyboardist, film composer and original member of rock/pop band, Toto, would recall first hearing Bhatia’s work: “He was doing everything that you’d want to hear in synth orchestration, but then he’d take it to another level by tearing your head off with some sound you’d never heard before (to put it mildly), not only from an orchestra, but from any Wendy Carlos, Tomita, or anyone else’s albums up to that point anyway.”
Porcaro had initially been introduced to Bhatia by electronic music pioneer Ralph Dyck, who had designed and built a digital sequencer that became the prototype for the 1977 Roland MC-8 Micro-Composer. Dyck had been a judge for the Roland International Tape Contest at which Bhatia had the winning entry and he couldn’t wait to share the piece, which had been created with just a Minimoog and a four track tape machine. This was the mid-‘80s when the marriage of microprocessors with music technology was at the honeymoon stage and Bhatia was just at the beginning of his career. In 1986, Porcaro would hire Bhatia to work on the Toto album, Fahrenheit.
During this period, Capitol Records was in the process of founding their Capitol/Cinema division, and based on his growing reputation as a composer of breath-taking cinematic soundscapes, Bhatia was signed as one of four composers – all synth artists – who would launch the specialty label. The Interstellar Suite and its nine movements, which remarkably were originally created as his demo reel from stories he created in his head and then articulated through music, was now complete. Upon hearing it for the first time, Steve Porcaro famously declared, “The standard has been set!” Unfortunately, the Capitol/Cinema division was short-lived and The Interstellar Suite was released on vinyl in 1987 with little fanfare solely to meet the terms of the contract.
Despite its disappointing beginnings, over the last 15 years as recording and synthesizer technology advanced, The Suite began picking up a following from electronic music devotees and pundits. They began comparing his work to legends of electronic orchestration like Isao Tomita and Wendy Carlos and marvelled that, while Bhatia was embracing the emerging technologies of the ‘80s like MIDI (the musical instrument digital interface), he chose not to use digitally-recorded samples of any instruments out of respect for “real” musicians and orchestras. Everything is created with a synthesizer and, in particular, the Minimoog, which at the time did not have touch sensitivity. It was all done manually with a fader and sequenced on a Roland MC-500, with only 16 MIDI channels.
Another impressive sonic feature of the recording is the lack of any significant compression. It actually has about 90db of dynamic range. The quiets are soundless and the louds are stentorian. The Interstellar Suite is a thorough workout for an audiophile 5.1 surround sound theatre system.
Amin Bhatia, all instruments
Mastered by Bernie Grundman
Produced by Frank Morrone, Amin Bhatia
Executive Producers Paul Novotny, Joe Sealy, Amin Bhatia
Also aviababel in FLAC 96, 5.1 multichannel
*Track 10 Test Tones only for surround download (no pre listen)
As a child Amin Bhatia always wanted to work with an orchestra, but there wasn’t any room for symphony players at home. His parents compromised by getting him a Minimoog synthesizer and a career was born.
Just out of his teens, Amin’s fascination with orchestras and electronics won him the Roland International Tape Synthesizer Competition two years in a row. This led to projects with David Foster on The Best of Me, with Steve Porcaro on Toto’s Fahrenheit, and Amin’s critically acclaimed audiophile album The Interstellar Suite (Capitol Records’ Cinema label).
The melodies, crafted effects and extremely wide dynamics in Amin’s music launched his career as a film composer. Over the next 25 years he became immersed in the film and television industry, developing fan bases in different worlds and expanding his repertoire to live orchestras.
Amin’s sophomore album Virtuality was the first to be endorsed by the Bob Moog Foundation. It continues his love of both symphonies and technology by featuring A Journey Inside your Computer using orchestral players. Then for contrast, he created Bolero Electronica, a painstaking arrangement of Ravel's masterpiece using 75 years of synthesizers in chronological order.
Respected in both electronic and orchestral genres, Amin Bhatia’s credits include John Woo’s Once a Thief and Iron Eagle II, several IMAX films, multiple Gemini Awards, an Emmy nomination for Disney’s Get Ed, and many awards and nominations for his work on the groundbreaking TV series Flashpoint.
The 25th anniversary edition of The Interstellar Suite, remixed in surround sound from the original analog multi-tracks, is now available through Triplet Records.
“Amin’s music is a breath of fresh air in the world of not just synthesized music, but music as a whole.” Oscar Peterson
“The standard has been set.” Steve Porcaro
“...rating right up there with Wendy Carlos and Isao Tomita.” Mark Vail, Keyboard Magazine