His music, writings, and speaking draw from immense loss, survival, Nature, and hard-won insight. “How far out are you willing to go? What are you willing to throw away your life on?” Dubbed a “rock mystic” by the Indie press and now signed to InGrooves/UMG/WorldSound after multiple Billboard and world charting songs, recording/guitar creative Andrew Reed and the dynamic, super-musician jam band,
“the liberation,” are challenging music conventions, defining a “new” type of art-rock by reintroducing true “album-oriented rock” – concept albums that have singles, but are meant to be listened to clear through. And not just a concept album, but “Trilogy” albums that represent “significant and coherent” bodies of work with unifying sonic themes throughout each trilogy. Reed is a first-rate songwriter with musicality pouring out of him…and he’s not quite grounded in this world. Most of the music is brought back from “in-between” states of consciousness. He is so far out, that he is known as “the Outlier” in the intellectual and science circles. Through a “vision” after a series of catastrophic personal losses, Reed saw and built a 3 level, state-of-the-art, remote mountaintop recording compound, where he, the liberation, and other artists could reside and become completely absorbed in their projects. Reed’s deep and insightful consciousness work has put him in the company of some of the world’s leading scientists and researchers, whereby proprietary synapse-altering technologies were developed to send artists “beyond themselves” – perhaps to make Pink Floyd, Fleetwood Mac, Zappa and Beatles-type recordings. Reed is a deviant flirting with enlightenment, but one who integrates the deep world of inner experience with the common external plights of daily living in a modern society. He and the liberation have taken recording to bold new territory, recording the first Trilogy albums, 1) As a Bird of the Air… 2) As a Lily of the Field… 3) As Grass in the Furnace… by saturating analog tape running 3 times normal speed and capturing performances at the time of inspiration using vintage gear. Live, the liberation is more like a “revival” than a typical rock event, where the audience is almost speaking in tongues, and they unleash exciting, unpredictable jams that push the limits of each musician. “Rock was never meant to be pretty...but desperate, risky and bombastic…where it could go off the rails at any moment… We have no interest in safe, over-rehearsed, phoned-in gigs… It must be real...a gamble… This is where liberation happens…”
