Heaven Knows is the brainchild of Daniel Montoya (DM), who plays all the instruments and, sometimes, is the voice of the project. Instruments include synthesizer, electric guitar and programming. DM is also a Dj in a weekly radio program at WFSS, 91.9 FM, Fayetteville, NC.
The project produced two previous ambient albums under the moniker Darwin Artyfact, both with Restore Productions. Heaven Knows is the name adopted since 2010 to present the results of several years of recording and mixing in search for the perfect Chill sound. As it is, Heaven Knows is a laboratory band, still carrying around its experimental baggage. The project wants to stop being a laboratory band and become a real object in the universe that can be touched and manipulated by the senses.
Under the name Heaven Knows we have explored landscapes styles rooted on Ambient, but moving recently toward Chillout and Electronica. The first two albums, “Dust” and “Ancient Ways”, both released by Restore Productions, under the name Darwin Artyfact, explored these ambient themes in the context of mystical solitude. The most recent work, “Dry Season” under the name Heaven Knows, is a more rhythmic endeavor involving synth landscapes and voice, still lyrically exploring the same mystical themes. In general, the lyrics were always patterned after the Psalms, eschewing the use of rhyme and privileging free verse, which has been a source of criticism. The new material attempts to follow established forms more closely while also appealing to dance floor sensibilities. In that sense, the project has moved from the inner landscape toward the body in motion.
The main influences include classic electronic music such as Kraftwerk, Brian Eno, Jean Michel Jarre, Depeche Mode, Vangelis and even Kitaro. More recently, it’s worth mentioning Moby, Biosphere, Orbital and the russian band Triangle Sun.
This project represents a passion for exploration and experimentation in rhythm and textures. I had been always interested in electronic music production since first listening to Kraftwerk coming from a tiny radio at an early age. This interest was sparked, not only from the textures and layers made possible by electronic medium, but also the options afforded to one-man projects. In that sense, electronic instruments offer incredible possibilities to realize a musical vision in terms of soundscapes, without the need of involving a great deal of people.
The project produced two previous ambient albums under the moniker Darwin Artyfact, both with Restore Productions. Heaven Knows is the name adopted since 2010 to present the results of several years of recording and mixing in search for the perfect Chill sound. As it is, Heaven Knows is a laboratory band, still carrying around its experimental baggage. The project wants to stop being a laboratory band and become a real object in the universe that can be touched and manipulated by the senses.
Under the name Heaven Knows we have explored landscapes styles rooted on Ambient, but moving recently toward Chillout and Electronica. The first two albums, “Dust” and “Ancient Ways”, both released by Restore Productions, under the name Darwin Artyfact, explored these ambient themes in the context of mystical solitude. The most recent work, “Dry Season” under the name Heaven Knows, is a more rhythmic endeavor involving synth landscapes and voice, still lyrically exploring the same mystical themes. In general, the lyrics were always patterned after the Psalms, eschewing the use of rhyme and privileging free verse, which has been a source of criticism. The new material attempts to follow established forms more closely while also appealing to dance floor sensibilities. In that sense, the project has moved from the inner landscape toward the body in motion.
The main influences include classic electronic music such as Kraftwerk, Brian Eno, Jean Michel Jarre, Depeche Mode, Vangelis and even Kitaro. More recently, it’s worth mentioning Moby, Biosphere, Orbital and the russian band Triangle Sun.
This project represents a passion for exploration and experimentation in rhythm and textures. I had been always interested in electronic music production since first listening to Kraftwerk coming from a tiny radio at an early age. This interest was sparked, not only from the textures and layers made possible by electronic medium, but also the options afforded to one-man projects. In that sense, electronic instruments offer incredible possibilities to realize a musical vision in terms of soundscapes, without the need of involving a great deal of people.