Giles Reaves was an early signer to the MCA Master Series, getting in on the second sampler, Spring Sampler ‘87. The music style he brought was a huge departure from what had been released on the label before. The earlier artists were all acoustic, with country backgrounds. Reaves brought in all-synth, meditative, airy pieces that could barely be classified as songs, since they had such freeform structure.
Wunjo
With his first release, Giles Reaves released an album of so-called “Space Music” based on Nordic runes. Although the album didn’t match up or work well with others on the label, it was a success in its own right. The album is out of print and difficult to find for a fair price (relative to other MCA Master Series albums).
The artwork is in the second design style, with center illustrative art that is constrained to its natural borders.
Nothing Is Lost
The second album, released in 1988, was a departure from Wunjo’s style into more traditional song structures, but still maintained the heavy synth elements and unique sounds. There are a couple of songs on the album to appeal to the hardcore fans of Wunjo.
This album’s cover is in the second design style and incorporates the border-breaking style of others from the same timeframe.
Giles Reaves
Giles Reaves was an early signer to the MCA Master Series, getting in on the second sampler, Spring Sampler ‘87. The music style he brought was a huge departure from what had been released on the label before. The earlier artists were all acoustic, with country backgrounds. Reaves brought in all-synth, meditative, airy pieces that could barely be classified as songs, since they had such freeform structure.
With his first release, Giles Reaves released an album of so-called “Space Music” based on Nordic runes. Although the album didn’t match up or work well with others on the label, it was a success in its own right. The album is out of print and difficult to find for a fair price (relative to other MCA Master Series albums).
The artwork is in the second design style, with center illustrative art that is constrained to its natural borders.
The second album, released in 1988, was a departure from Wunjo’s style into more traditional song structures, but still maintained the heavy synth elements and unique sounds. There are a couple of songs on the album to appeal to the hardcore fans of Wunjo.
This album’s cover is in the second design style and incorporates the border-breaking style of others from the same timeframe.