Discover the great music of Robert Carty.

"The universe is inside of our soul"
---Robert Carty

One of the greatest and most prolific composers of electronic music in the 1990s and the New Millennium, Robert Carty has many wonderful CDs and tapes available for purchase.

This website is by Carty fan and radio host Eric Mystic (Eric A. Meece). You can now also visit Robert's own site at http://www.deepskymusic.net

Robert Carty now has his own label, DEEP SKY MUSIC. He will send you or make a copy of any CD you request for $10, and send it to you with no extra shipping charge.

Just send a request for a CD and $10 to:

Deep Sky Music
Robert Carty
741 East 600 North
Layton, UT 84041

Or e-mail Robert at deepskymusic@earthlink.net

Please make check or money order payable to Robert Carty.

Robert Carty, though not well-known and usually overlooked by record companies, is simply one of the very best musicians around today.

Spacemusic uses very subtle, fluid but powerful melodies and forms which change gradually and gently into each other. When it exists at all in spacemusic, rhythm is very gentle. Some pieces of space music are like eerie and haunting sound sculptures which make a powerful impact even without having any melody or rhythm at all. The best space music, though it makes use of "minimalist" techniques that reduce the dissonance and complications of other modernist music, is very rich, sensuous and full of resonant tones that evoke the significant moments and feelings of your life, and put you in contact with your deepest mystic or meditative awareness.

Like much new age music, Carty's aims to inspire as well as to relax and heal. Carty says he hopes it will bring as much peace of heart to the listener as it does to himself while creating it. Carty's is a music you can always turn to to relax and restore your spirits. It is a solace, a balm and a tonic for your troubles, and a window to the imagination. It stimulates the senses, opens the mind and delights the heart. It is at once bright and ethereal, spacious and contemplative, yet deep and passionate.

For those of you who are familiar with some spacemusic, but don't know Carty's, comparisons might be useful. It lies somewhere amidst the darker and more spare or ethnic sounds of Roach, the smooth misty music of Serrie, the deep sensuous spiritual sonority of Parsons, and the bright esoteric spirituality of Michael Hammer.

As favorite artists who have influenced him, Robert mentions Klaus Schulze, Tangerine Dream, Jon Anderson, Mychael Danna & Tim Clement, Giles Reaves, Jonn Serrie, Vangelis, Steve Roach, and most Hearts of Space artists. Robert mentions that he likes earlier Klaus Schulze better than his later stuff, and that although Roach's "primordial" style is intellectually stimulating, his Quiet Music "touches his heart."

Where Robert Carty's music transcends that of all these other artists is in its heartfelt qualities.

Carty's music puts me vividly in touch with the people and places I love. It is a lush, relaxing, delicate and beautiful sound that sometimes takes the listener into another dimension altogether. The music "comes from above," as Carty says, and at the same time reflects our Mother Earth's sacred beauty and value. It also elevates us into the "deep sky," where we can cavort with the spirits that dwell there.

A brief review by Eric Mystic of each of Robert Carty's recordings. They are listed in rough order of my current preference. Of course, opinions differ about which ones are the best, and my mind changes sometimes too! See also the Recommendations by Others for slightly different opinions! People often ask me for a list like this, to help them choose which of Carty's many albums to try first. I don't want it to seem like I have no discrimination, even though in truth I recommend all of his works. But making up a list like this means a few of the CDs have to end up on the bottom, even though I like them!

Those marked ***** are excellent and likely to rank among my favorite 20 or 30 new age/visionary/spacemusic CDs/tapes of all time. Those marked **** are very good and likely to rank among my Top 100 or my top runners up of all time. Those marked *** are good, and if they are marked ***1/2 they may be mentioned among other runners up to my list of new age favorites. Note that some of Carty's newest works may eventually attain a higher position within this list than they now occupy (or maybe fall lower), and perhaps eventually surpass some of my older traditional favorites. Note that this list includes a few works that Robert is not now making publically available, though you may see references to them on this site or elsewhere.

The Mystic Choice (1998) *****

This CD is a must-have not only for ambient, new age and space music fans, but for anyone who likes good music, period. This is one of only a handful of albums which I would say that about. This CD contains many of Carty's best pieces from 1997 and before, organized around the themes of love and mystic wonder. Click on the link for more info about the pieces on this "best of" sampler.

Horizon's Call (1996) *****

What experiences lie just beyond the horizon on planet Earth? When you are in the mood to explore and discover the world and its delights, this work is for you. These upbeat, mostly rhythmic or percussive pieces include some outstanding tracks which capture the essence of the romantic and the exotic (see below). Many tracks have an ethnic flavor, representing the call of far away lands; especially the title track and the fine didgeridoo piece called Meeting the Earth. All the pieces on this CD are excellent, but some may take some getting used to. If you play this work a few times, you'll discover that it contains a veritable wealth of riches. The Spanish word for heart, "corazon" sounds similar to our word horizon, and this work truly opens the horizons of the heart. I give this one my highest recommendation.

Natural Wonder (1992) *****

This is one of Carty's earliest masterpieces, and perhaps still his greatest. Every track is soothing and refreshing to listen to, and expertly composed and arranged. Several tracks stand out (see below) as especially emotional and majestically sonorous. The album evokes the natural wonder, curiosity and love which we have for the world around us, which stimulates our desire to further unfold ourselves. This work is itself one of the natural wonders of the world of music.

Silent Dreams (1997) *****

The pieces on this album are all of a piece. It is my favorite CD to go to sleep by, and to dream by. If you sleep to this CD, be sure to remember or write down your dreams in the morning! You may find some new insights. This rich and profound album is soft, slow, quiet, contemplative and exquisitely tender. Its sound is a bit like Enya or Vangelis, but on a more subtle and heartfelt plane.

Timeless (1998) *****

This work is the essence of relaxing ambience in the spacemusic genre, reminding me of early David Parsons, Steve Roach and all the other greats. One track, Past Boundaries, reminds me of Parsons' work from Yatra, Abode of Shiva-- but with richer instrumentation. The first three tracks are gentle and flowing, while the last title track has Carty's characteristic warmth and aspiration. All are built around repeating motifs. There's scarcely a weak moment on this disc for spacemusic fans, although some of the pieces might seem too slow to others. Put it on when you just want to space out, relax and explore your inner awareness. Perhaps if you are in the right space you may even get a glimpse of timeless eternity.

Plateaus of Ether (1999) *****

The sounds on this disc are perhaps the most original and innovative yet from Carty. An elaborate array of brilliantly-processed oriental instruments evoke Eastern ethereal spirituality. The Plateau may be an oblique reference to Tibet. He's really giving David Parsons a run for his money on this one! Sampled and live instruments include koto, gamelan, Tibetan bells, Tibetan Tingsha, shakers, and Carty's own voice used as a bass drone that sounds similar to Parsons' recordings of Hindu or Buddhist monks chanting. It starts out rather slow and simple, but don't be deceived! Each succeeding track is deeper and more intense, leading toward the last two tracks. Lost Temple moves through 3 exotic sections, and is truly a "find" for the spiritual seeker or for anyone thirsty for a wondrous musical adventure. The graphic art Carty has made for this album is stunningly magical, fully translating the music into visible form.

Ethereal Deserts (2003) *****

This work is an inspired expression of sounds never heard before. As I listened to each track, I wondered, how will he be able to top this music on the next track? But he does. How can an artist blend the ethereal with the earthly and sensuous? I don't know, but Carty manages that feat on this disc, with expertly-designed sounds that are gentle and more graceful than usual. There are many excursions into the "deep" desert sky, and each track builds on the last, until with the final 2 tracks we pierce through the veil that limits our feelings and perceptions and bask in blue vastness of rich ecstacy.

Starlight Vol.2 (2009)***** (rank and rating tentative)

The second in a series inspired by long nights of star gazing. The winds blow powerfully from the galaxy into our souls. This dazzling, light-filled music is warm and aspiring toward the heights and depths, within us as well as without. Galactic Winds elevates you to a galactic perspective.

Darklight (1998) ****1/2

This is his first work entirely devoted to the "dark ambient" style, although as always Carty brings peace and "light" to illuminate the darkness. Its style is restrained, quiet yet compellingly emotional. The first track has a vaguely Schulzian rhythm, appearing perhaps for the first time since his first album. Even though Klaus Schulze was Carty's primary inspiration, he has seldom emulated his dark mood until this work. But here he moves through those nether realms in his own original fashion. Organic Elemental is especially hypnotic, Sensory Link is quietly spellbinding, and the deep and mysterious finale is one of his best longer pieces, which have become something of a trademark for Carty since 1998. The whole work is cohesive, and all tracks are good.

Nagual Heart (1997) ****1/2

Formerly called Spanish Spaces, this CD is another masterpiece. The Spanish guitar gives new wings to Carty's compositional abilities. These pieces are tightly constructed and often convey the moody atmosphere of Moorish Spain. Nagual is Spanish for wizard or magical companion. The entire album is stupendous, with both moderately fast and slow, quiet pieces.

Gateway (1999) ****1/2

This CD features two long synthesizer tracks with electronically processed flute and samples of various sounds. It seems to me that this is one of his best essays into the "long form" of CDs containing only 1 or 2 extended, continuous pieces. Composed at the "gateway" into the New Millennium at the end of 1999, the title may also refer to Robert's new Email server! We move through the "gateway" in very languid fashion, escorted by the sounds of blowing winds. It may move a bit too slowly for some listeners, but the feeling builds, and the second track (which continues without a break from the first) is full of the special, heart-felt visionary moments we expect from this great composer and artist. A very fine ambient album.

Starlight Vol.1 (2008) ****1/2 (rank and rating tentative)

"Inspired by magical nights out under the skies," this is a work of gemlike radiance. The first of 3 projected musical explorations of the "space theme," already Carty takes space music to new "heights" as well as to new "depths" of the sky. This album features brand new sounds, yet has the soulful, romantic qualities of his early albums like Horizons Call. Now instead of what's over the horizon, he awakens our "natural wonder" at the beautiful skies within and without us.

The Endless Vista (2007) (with Sylken) ****1/2 (rank and rating tentative)

Dense, smooth, subtle sonic experiences; deep and profound but pleasant rather than dark. A warm meditation on the cosmic expanse of creation. Carty's inspiration is evident, and Sylken seems to add very well-crafted sound layers to Robert's ambient themes. The opening title track, though hauntingly beautiful, is not as compelling as the rest of the disc, so please don't stop there; the last five tracks are uniformly good and powerful. "Desire of the Ages" expresses longing on a truly cosmic and eonic scale, while "Of Space and Time" is the spaciest sonic adventure.

Moving Spaces (1998-99) ****1/2

Robert's typical style of heart-felt, floating, relaxing sounds in flowing counterpoint is masterfully rendered in this work, which is reminiscent of Natural Wonder and its 1999 successor The Living in the way it evokes the spirit of life in all its beauty. The title "Moving Spaces" seems to refer to the awe-inspiring, evanescent heights of the slowly-shifting spaces of the "deep sky." This is another example of how Carty became a master of the extended piece in 1998, emulating his forebears Steve Roach, Klaus Schulze and Tangerine Dream in that respect. "Moving" is from Spring 1999, and "Spaces" from Spring 1998, and both works seem to spring directly from the Soul. These are two of his best extended pieces.

The Living (1999) ****1/2

This work is one continuous, warm, floating meditation on the spirit of life, taking you from a rainforest in Washington State ever higher to the divine cosmos and the living spirit in all things. A variety of sounds greet you along the way, from gentle rhythms to familiar Cartysian vibrato sounds to intriguing blends we haven't heard before. It seems like a somewhat less-structured follow-up to Natural Wonder. A portion of the album has gently-cosmic sounds reminiscent of Don Slepian's great, spacey early works.

High Meditations (1996) ****1/2

This was the first of his enormously bountiful crop of releases starting in 1996 and leading up to the New Millennium, and the first to feature an abundance of vibrato sounds. As the title suggests, this album aims for the heights of spiritual, meditative experience, both within the realm of the senses and beyond. The pieces are all in the slow, quiet and relaxing spacemusic genre, and sumptiously arranged as usual with some enchanting vibrato and luscious sound effects. As soon as it starts to play, you know you are listening to profound stuff, but it only gets better as it goes along, leading the listener higher and deeper to realms of sacred peace of heart. This CD is especially soothing and relaxing to the soul.

Spectrums (1997) ****1/2

Another great work in the slow, spacemusic genre, it also is remarkable for its innovative sounds and the rich musical colors it contains. Here you can experience a full spectrum of emotions, especially those tender, romantic moments. This album includes several tracks in which voice tones are expertly blended with Carty's resonant and innovative synthesizer sounds. Though two pieces stand out from the others (see below), all tracks are very good.

Oceanic Space (2005) ****1/2

This work includes 64 minutes of music, plus an almost-14 minute track of ocean sounds (the title track, part 2) at the end. There is nothing remarkable about the ocean sounds, but the music is wonderful as usual. The pieces generally get even better as the disc goes along. All of them have a jewel-like radiance, emotional impact, and original craftsmanship that often distinguish Carty's work. Some "ping ping ping" sounds in some tracks are recycled from earlier albums, such as Climatic Infusion and Sonic Magic, but as the album gets deeper these are thrust aside, and by tracks 6 (Infinite Waves), 7 (Splashing Life) and 8 (the title track, part 1), we are truly immersed in a cosmic oceanic experience.

Mount Meru (2004) ****1/2

Very smooth and soothing soundscapes, with spoken word on 6 of the 11 tracks. It is best to have the CD liner notes in hand, since the words are often spoken too softly to hear clearly. The reader is Gerard Geary, who has provided the titles for many of Carty's pieces, and he reads 4 excellent spiritual and romantic poems of his own (Zephyr Wind, Early Autumn, Mt. Meru and Graymoor Castle) and one by Katie Higgins and Susan Glick (A Different Eden). The pieces are often built around drones, with some gentle rhythms at times. Didgeridoo is heard on Zephyr Wind. Everything is well crafted and easy to listen to, with rich, sensuous melodic textures and harmonies. The work concludes in an unusual and creative way with "Expanding Awareness," in which a radio interview is heard with Dr. George Kaplan about paranormal phenomena, accompanied by a snazzy, smooth drumming soundscape played by Carty, Geary and Kevin Higgins. Although this work was released in 2004, the copyright says 2003.

Cloud Pull (1999) ****1/2

This fine work takes you high up into the clouds, yet still keeps you in touch with the Earth. Carty brings his usual warmth and originality to this meditation on the soaring and radiant beauties of the deep sky, adding some innovative sounds from his deeper pallette to the mix, including didgeridoo on track 5. The tracks run together on this album, but also work separately. Crickets (or are they frogs?) appear about half way through and continue chirping away after the music ends.

Microspirals (1999) ****1/2

Though similar to his "dark ambient" style on Darklight, I would rather call Microspirals a "deep ambient" work, because it's not all dark. Carty reveals his deep, penetrating sensitivity to the beauties of Mother Earth and the spiral nature of the universe. Like Timeless, Microspirals has four long, soothing and profound pieces. Dark and mysterious, track 1 has beautiful voice tones at the end. Tracks 2 and 3 start out with rather strange sounds that soon blend in with beautiful spacious ambience. The last track is the most "touching."

Dreamswirl (2006) ****

This second co-creation with Brannan Lane shows the brilliance of both composers. In my opinion, it is better than their first, and shows Carty at his best working in partnership. The title is quite descriptive, as Carty says. The well-crafted, swirling soundscapes take you into very visionary, relaxed and dreamy spaces. Perfect music to reflect by, you can use it to sensitize and expand your visions and dreams. Listen patiently to the entire disc and you will be rewarded.

Life Rhythms (1997) ****

This is a very exciting work, and easy to listen to. Every track is a winner. Most pieces on the album are rhythmic of course, and good to dance to; yet often the rhythmic sound is very gentle, and always accompanied by gorgeous visionary sounds in brilliant compositional form. Rhythms surround us and give us life. Here Carty has captured the spirit of life lived joyously from the heart. I highly recommend this one even for spacefans who don't like rhythmic music.

Dreaming Earth Water Memories (2002) ****

The "water" pieces 1 and 4 are terrific; deep and sensuous, they have a vividness, immediacy and sensitivity that few if any composers can match; although "Water Memories" reminds me somewhat of the great David Parsons with its East Indian-like sounds. The other four have rhythm tracks, didgeridoo, voice, etc., and are no less rich sonically and musically; although I would have liked the rhythms to be more varied. In that respect it reminds me of "My Earth Touches Me." The second "half-title" "earth" track features didgeridoo in a remarkably smooth blend with the other sounds. The third track called "beautiful sky" is not a floating, quiet piece like the name suggests, but reminds me of the pieces on the exotic "Horizons Call" album. The fifth brings together everything from before, including the smooth watery sounds from the previous track. The finale is marvellously "cleansing."

Cleansing Fire (1998) ****

A wonderful album of quiet, slow, relaxing, trance-inducing, minimalistic, innovative, haunting, ambient soundscapes. It was put together out of various leftovers from his very creative 1996-1997 period, but you'd never know it because the pieces flow so nicely together.

Serotonin Ashram (2000) ****

Full of delights, this work is great from beginning to end. As he explains it, serotonin is a neurotransmitter that communicates messages from the physical senses across synapses in the brain. An ashram is a temple or sanctuary. So this work is a sanctuary of the senses. Most any Carty work is that, but this one transmits some unique new sensations and feelings through your brain to your soul. The sound is smooth, eloquent, mysterious, and even a bit erotic. Faces In The Trees is a rhythmic, rich soundscape. The last two tracks are special too; Extended Stillness is brilliantly haunting and mysterious, while the finale Garunda Valley seems to combine everything masterfully together from an album that itself is full of variety. The last 4 minutes of "the valley" are especially scenic.

Skyhearts (1994) ****

This is the last of his earlier group of conventionally-produced albums, and one of the most widely-distributed so far. It contains four especially good spacemusic explorations (see under "other goodies" below). Listen to them outside if you can, or while gazing out the window, and let your mind float with the music toward the sky to cavort with the cloud spirits. This work springs from the heartland of America where Carty was born and lived for decades, and emerges from the soil and soul of its Native American heritage. Though most of the work is very fine, it seems to wind down toward the end, where some of Carty's usual emotional warmth and energy is missing.

The Inexplicable (2000) ****

If you enjoy dark ambient music and desert soundscapes, don't miss this one. Carty's is a very original approach to this kind of sonic scenery; very alive yet haunting. This one doesn't move fast, but penetrates deeply. Like Gateway and Moving Spaces, this is another of Carty's works with two long pieces, broken up this time for easy tracking.

Source (1999) ****

Here Robert takes us on a sonic adventure into the source of our being, and into some of the sources of his own musical inspiration as well. Breath, the first track, has a Native American feel similar to Earth Ground and to "Spiraling In" from Life Rhythms, and the next two tracks have a darker Schulzian or TD sound. The finale is a 30-minute tour-de-force that moves through four wonderful sections, leading us into an experience of the Source. On this CD Carty continues with the darker sounds from Darklight, but this time with a bit more energy, power and sensuality. A good sound system may be needed to fully experience all the resonant bass tones in this work.

Atmospheres (1991) ****

A work with a wide variety of sonic experiences, it is a good introduction to Carty in his earlier period. It contains a couple of excellent spacemusic adventures (see below). Other pieces on the album are rhythmic, with some strong and a few weaker tracks. It gives a taste of his earlier more-melodic, rock-influenced style (also heard on Soulscape, another fine album), which is not as emotionally passionate or deep-spacey as everything he's done from Natural Wonder onward, but which has some interesting, lighter and engaging sounds which you don't often hear in his later works.

Essence (1998) ****

Although the second track has a bit too much of Carty's vibrato sound for me, the first and fourth tracks ("Emerging" and "Awakening") are quite special. All the tracks have a fairly thick and intense sound, and the finale ("Endlessly") is based around a repeating, elaborate motif similar to that used in his pieces "Heart Waves" and "Love Life," as well as similar to the motif of the previous track. The sounds flow together smoothly and misty-like. This album is a bit shorter than the others (53 minutes), consisting of 5 10-plus minute tracks.

Himalayan Dreams (1999) ****

This CD has the sparkling, mysterious radiance of a wintry landscape. Though not as profound as David Parsons' Himalaya, its Himalayan-inspired sounds are smooth and subtle, and the composition is brilliant as usual. The new drum machine can sometimes be a bit overwhelming on players with powerful bass. My favorite track, Mountain Spell, is an enchanting and mysterious bewitched piece. Captivating TD-like rhythms similar to those from his first album Soulscape accompany the ethereal "ascent" through the album up to the "view from the roof." In the dreamy finale, the drums cease and so does almost all sense of movement, as if we are experiencing the "eternal now" that Himalayan lamas talk about. It is relaxing and inspired, much like "Past Boundaries" from Timeless, but in truth once you've heard the first seven minutes of this final piece, you've heard it all. On the other hand, you may find yourself lost in the midst of this blissful Himalayan dream and not want it to end.

Suntales (2006) ****

Surely one of Robert's brightest and sunniest albums. Elegant and rich throughout, the second and third tracks stand out for their depth, with the third one, "Rhythm of Pulse," offering solar energy that is powerfully healing. The last piece is scenic and relaxing, leaving you "Lost in Suntales." The Sun has a wonderful story to tell in your heart through Robert's work, and it might awaken the golden light of enlightenment.

Tonalities (2003) ****

Smooth sound, expertly recorded. Vocal tones are blended well with other instruments. The even-numbered tracks are the most substantial, laced with Carty's masterful expression of evocative emotion and sensibility. The odd-numbered tracks are fineand expressive too, but are more like his dark and drifting style similar to some other works of his from the early 2000s decade. This one has moments in it that remind me of Natural Wonder. The last track Vision Process (and its video) is one of his most lively and engaging pieces.

Golden Desert (1995) ****

I like all four long pieces on this work a lot, even though Robert thinks there are recording glitches in this CD that make it not worth offering to the public. The second track is especially subtle, and the final track is the first of his extended pieces, and one of his best. This music is slow and somewhat repetitive, with lots of Carty's warmth and haunting poignancy. It is reflective, relaxing and soothing. Track 3 has some out of tune spots, but I don't think they are serious, and I don't notice anything that should make this work not worth offering. But that's my opinion, and it isn't Robert's.

Earth Ground (1995) ****

This recording comes between Skyhearts in 1994 and High Meditations in 1996, and the relationship to the two works is clear in the employment of flute sounds and Native American themes. If you like the other two works, you'll like this one. Like them, Earth Ground features slow, spacious, serene, smoothly-flowing, and relatively simple sounds that evoke the earth and sky, though unlike them the first track is rhythmic. All tracks are good. In this work he seems to be exploring the deeper levels of nature within our being, much as Steve Roach and Robert Rich did in their album Strata. The penultimate piece returns to the most archetypical Cartysian sound, as we enjoy the ecstacy of being "one with" the Earth Mother. But this piece leads without a break into the slow, down-to-earth final track, which has some spooky, cave-like effects that are unique to this album. The frequent flute sounds on this recording are quite soothing, electronically processed to create smooth echo effects. This work has very healing and grounding effects for the listener.

Earth Voice (1998) ****

This CD features fine didgeridoo playing blended with flute and synth sounds. I like it better than at first. The opening title track emphasizes the didgeridoo sound, and though well-done it may seem harsh at times. On the rest of the CD, however, it fades more into the background, and Carty's usual brilliant synthesizer comes to the fore again. Enlightening Beauty revolves around a repeating motif similar to that of the great piece "Love Life" from Natural Wonder, and Earth Energy features hypnotic rhythms. Spirit Life makes the spirit of the Earth soar, and the CD concludes with a beautiful, quiet, rhythmic duet between didg and flute sounds.

Midnight Rainbows (2001) ***1/2

This one takes off from where The Inexplicable and Serotonin Ashram left off in Y2K, with very rich and sensuous sounds, but no rhythm this time. Deep, spacey and soothing, it takes you to another "place." The final track has a lighter, floating meditative sound much like "Deep Reflections," also recorded in 2001 for the Tracks Across the Universe sampler.

Deep Spirit (1997) ***1/2

The title track of Deep Spirit is by far the weakest (too much vibrato!). Overall though, it is a fine album of innovative, quiet, contemplative space music. Its highlight is the wonderful Into Deepness (see below), a real tour-de-force. Other tracks are less dramatic, but have what some listeners feel are some of Carty's most innovative sounds and composition.

Breathing Peace (1999) ***1/2

Simple solo flute sounds are featured with minimal electronic processing. It is a pleasant, peaceful, ambient sound, similar to Coyote Oldman, with some clever melodies and repeating motifs along the way, and plenty of echo effects. This work has healing properties and is deeply soothing and relaxing, but it may not appeal to those who don't like the solo flute played in its lower registers, or who prefer more energetic music.

Climatic Infusion (2002) (with Brannan Lane) ***1/2

Brilliant ambient sonic wallpaper of an especially colorful kind. On each track, nature sounds and relaxing, swishing electronic effects introduce waves of repeating musical motifs that are like ripples in a mountain lagoon.

Energy (1999) ***1/2

Carty describes this as a spontaneous "jam" (as opposed to the contemporary work Himalayan Dreams, which was "worked on"). But it seems whatever Carty touches turns to musical gold, whether "worked on" or not. The new drum machine sound provides a steady, gentle "rock" beat which gives wings to inspirational, innovative, spiritually-energizing melodies. "Moving Towards You" seems a follow up both to "Within Love" (Horizons Call) and "Well Being" (Soulstice), though not as great as those two Carty classics. The whole disc further develops Carty's gentle "rock" style, which has been evolving since his first album Soulscape. On "Contemplating Horizon" on this disc he achieves mastery of this style.

Soulscape (1990) ***1/2

Soulscape is quite similar to his follow-up work Atmospheres, except that it contains more-obviously TD/Schulzian-style rhythms. Carty sometimes describes this earliest of his albums as "rock," but it also has some spacey, floating pieces-- one of them the title track which is quite effective. The ecstatic piece "Well Being" is definitely the highlight. Unlike his more mature works, Carty's Soulscape album is more melodic and richly-produced orchestral electronic music than ambient-- somewhat like works by O'Hearn, early Arkenstone or '80s TDream; yet I think more original and emotionally engaging than those. Its rock element is actually more gentle than in some later works by Carty such as Horizons Call or Light Dreaming.

Gaia Interludes (1999) ***1/2

This work is very ambient, in the sense that it is like sonic wallpaper and tends not to call attention to itself while you are listening to it. Most melody lines, which remind me of those in Silent Dreams, are formed by electric piano sounds that also seem a bit like a guitar, similar to the sound of Nagual Heart. Everything sounds gorgeous as usual, though this work is not as passionate in its expression as some of his others. Later tracks have an unusual, subdued, "deep-twilight" sound. For the first time he hasn't tried to label each track with titles, but fallen back to the classical practice of numbering them, which is probably more appropriate in this case anyway. The last one may be my favorite.

Deep Sky (2002) ***

This CD has some relaxing and engaging floating sounds that elevate you into the deep skies. The final track is somewhat more dynamic, but most tracks are quiet and sensuous. The middle track is the longest and probably the best. This recording is based on his live performance in Portland Oregon.

My Earth Touches Me (1999) ***

Noone blends the didgeridoo sound into a musical mix as satisfying and enjoyable as Carty does. You don't even notice the rough edges of the didg sound on this one, even as it vitalizes all the other sounds with powerful rhythmic drones. The third or middle piece is a floating oasis between the other rhythmic tracks, which are all closely related and similar in style. Despite the exotic didgeridoo sound, this is a very typical upbeat Carty album; a relaxing, vibrant, imaginative journey through the sacred realms of the Earth Mother.

Flowing (1997) ***

Although this recording contains 2 long tracks, there is a lot of variety within them. Some sections are droney or repetitive, while most are more "flowingly" structured. It starts out with some bubbly sounds that will almost-literally quench your thirst for the kind of rich and resonant liquid musical experience that it seems only Carty can provide, and there are some wonderfully transcendent moments later on. Each musical cadence flows smoothly and gracefully into the next in this relaxing work, and you never know what unusual sounds you might hear as you pass the next bend in your journey up and down this musical river of sound.

Inward Glimpse (1998) ***

Gentle and heartfelt, this single-track "experiment" starts out with quiet drama in a minor key, with mysterious, meditative gong-like bells and a reedy flute sound; then shifts into a major key with familiar vibrato sounds half-way through. Like some of his other works, he made this one for himself as background for his own travels. It is not currently available to the public through this web site, and is not highly recommended by the artist.

Light Dreaming (1998) ***

This CD seems to be a successor to Life Rhythms. It is energizing and joyfully positive; a resonant, light-pulsing experience. Play it over and over again when you want a lift. All the pieces are good, though in portions of some of them the percussion may be too loud for some listeners. Although I originally listed it as one of my Top 100 all-time favorites, it seems to be fading in its appeal to me compared to Carty's other works, since it doesn't seem quite as heart-felt.

Waterspirit (1998) ***

This work scarcely breaks new ground for Carty, but it is relaxing and enjoyable as usual. It has some high moments, and some pauses where only the watery sound effects are heard. Most of the work is quiet and slow, and some would find it boring because there's not a lot happening. But if you enjoy Flowing, you might like this one too.

Sonic Magic (2002) **1/2

Quiet sound effects dominate this album. Reflective and evocative, even magical or alchemical as background music, this work lacks the passionate expression found in most Carty albums.

Sky Reaching (1996) **1/2

Some Carty fans like this one much better than I do, including the artist himself. "Deep Sky" is very quiet, while "Reaching" has a heavy vibrato electronic sound.

The Magical Life (1997) **1/2

This is a "practice" album of metaphysical songs, with one instrumental, and is currently unavailable.