HEARTS of SPACE is a nationally syndicated ambient - space - contemplative music series started in 1983. We can't legally podcast the entire program (blame the RIAA!) but we offer our weekly 30 second promos to give you a quick sample. You can stream the new shows free all day every Sunday at


  • PGM 1058R THE TWILIGHT ZONE : oct. 23-30

    PGM 1058R 'THE TWILIGHT ZONE' : oct. 23-30


    As we enter the astrological house of Scorpio, here in the northern hemisphere the light is waning, the natural world is withering, and hidden realms are emerging from the shadows. It's a time for music of dissonant harmonies, dark spaces and strange worlds. I'm STEPHEN HILL and on this transmission of Hearts of Space, a dark autumn journey called THE TWILIGHT ZONE. The title, of course, was made famous by the 1959 science fiction TV series written, produced and hosted by ROD SERLING, featuring stories of the futuristic, the paranormal and the supernatural. My introductions to Hearts of Space are too often compared to Rod Serling's. Thank you, but have you actually listened to a TWILIGHT ZONE intro lately? Sorry, no way. Music is by TIM STORY & ROEDELIUS, KEVIN KELLER, BRUNO SANFILIPPO, MICHAEL JON FINK, JEFF GREINKE, ROBERT RICH, THOMAS NEWMAN & RICK COX, and DWIGHT ASHLEY. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

  • PGM 1262 MYSTIC CANYONS : oct. 16-23

    PGM 1262 'MYSTIC CANYONS' : oct. 16-23


    The gentle tones of the Native American cedar flute have propagated far beyond their origin — a rare case of a humble ethnic instrument succeeding on natural charm and sonic appeal. Resurrected from decades of cultural neglect by native musicians in the mid 20th century, it proved to be a versatile and satisfying instrument for both amateur and professional musicians. We like to revisit it in the fall, when its pentatonic minor scale seems to magically express the deepening energy and complex colors of the season. On this transmission of Hearts of Space, a Southwest autumn journey featuring the Native American flute called MYSTIC CANYONS. Music is by COYOTE OLDMAN, JONN SERRIE & GARY STROUTSOS, SCOTT AUGUST, JOHNNY WHITEHORSE, JAMES MARIENTHAL, SHERRY FINZER, JOHN HULING, and KENNETH HOOPER. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

  • PGM 1261 SACRED SONGS 2 : oct.9-16

    PGM 1261 'SACRED SONGS 2' : oct.9-16


    The traditions of sacred music and contemplative song are found in almost every culture on earth. They bring beauty, peace, and emotional fulfillment to millions. Since the mid 20th century, the sacred sounds of exotic world cultures have become increasingly popular with western listeners, even though they sound nothing like western sacred music. Despite our increasingly secular culture, sacred song maintains a special place in our holiday celebrations, and contemplative music provides a much-needed balm for battered spirits. On this transmission of Hearts of Space, deep song, devotional chant, sacred hymns, and contemplative instrumentals from Spain, the Middle East and India, on a program called SACRED SONGS 2. Music is by ADAM HURST, YUVAL RON & flamenco singer ESTRELLA MORENTE, MICHEL BANABILA, AZAM ALI & LOGA RAMIN TORKIAN, DEVA PREMAL, and SERENA GABRIEL & STEVE ROACH. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

  • PGM 1231R FALLING : oct. 2-9

    PGM 1231R 'FALLING' : oct. 2-9


    THE SUN begins its long withdrawal from the northern hemisphere after the summer solstice in June. After the autumn equinox in September, the transition seems to accelerate. The days grow shorter, the nights grow longer, and the temperature cools, while the natural world changes color and prepares for the winter to come. Since medieval times we've called this season "fall." The word comes from Middle English, with Old English and Old German roots. Falling implies movement downward, and in autumn declining solar energy brings a feeling of descending or falling into the season. In music it's marked by slowing tempos, descending chord progressions, darkening timbres, and wistful, even melancholy emotions. On this transmission of Hearts of Space, we descend into the autumn soundscape, on a program called FALLING. Music is by DAVID DARLING, JOEP BEVING, CHRISTOPHER TIGNOR, HAMMOCK, LUDOVICO EINAUDI, and TOM EATON. [ view program page ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

  • PGM 1260 CALM ABIDING : sept.25 - oct.2

    PGM 1260 'CALM ABIDING' : sept.25 - oct.2


    The theory and practice of Indo-Tibetan Buddhist meditation seem ideally suited to confronting the stressful challenges we're now living through in the wake of the Covid-19 pandemic. Through a form of meditation called śamatha or "single-pointed attention," the meditator achieves vipaśyanā — in English vipassana or insight — "seeing into the nature of things." In Sanskrit, śamatha means "tranquility of mind," often called "calm abiding." Śamatha has five progressive stages: stable attention, powerful mindfulness, joy, tranquility, and finally, equanimity. The practice of calm abiding leads to insight. Without any formal connection to Buddhist meditation but because of common goals, we can find śamatha in the deeper, quieter, more contemplative forms of ambient music. On this transmission of Hearts of Space, a Buddhist-inspired ambient meditation, on a program called CALM ABIDING. Music is by ROBERT RICH, SPUNTIC, SAM ROSENTHAL & JARGUNA, NUMINA & ZERO OHMS, and KEITH BERRY. [ view playlist ] [ view Fl

  • PGM 1158R EQUILUX : sept.19-26

    PGM 1158R 'EQUILUX' : sept.19-26


    Twice a year, we pass a point of balance and equilibrium in the progression of the seasons. Our planet reaches the place in its celestial journey where the center of the sun rises and sets directly over the equator, and day and night are of approximately equal length everywhere on earth. We call these times the equinox from the Latin for "equal night." A less common but possibly more correct name is equilux or "equal light." The September equinox marks the beginning of the new season: autumn, and the time of harvest festivals in the northern hemisphere. On this transmission of Hearts of Space, calm and balanced acoustic ambient for the seasonal transition, on a program called EQUILUX. Music is by PETER BRODERICK, LUDOVICO EINAUDI, FEDERICO ALBANESE, TOM EATON, FLOW, CARL WEINGARTEN & CATHERINE MARIE CHARLTON, GREG HAINES, A WINGED VICTORY FOR THE SULLEN, and ENZO. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

  • PGM 1189R DEEP DUB : sept.11-18

    PGM 1189R 'DEEP DUB' : sept.11-18


    The history of Jamaican Dub music is rich and fascinating. Dub grew out of reggae in the 1960s, and evolved well beyond its popular parent. It was a studio craft where producers created instrumental remixes of reggae tracks by removing the vocals, adding echo, reverb and delay, and dubbing in new ambient sounds. Essentially, Dub was an early form of popular electronic music. If you think all this had something to do with cannabis, you'd be understating the case. In a 1982 essay, LUKE EHRLICH said: "With dub, Jamaican music spaced out completely. If reggae is Africa in the New World, then dub must be Africa on the moon; it's the psychedelic music I expected to hear in the 1960s...and didn't. The bass and drums conjure up a dark, vast musical portrait of outer space, with sounds suspended like glowing planets or the fragments of instruments careening by, leaving trails like comets and meteors." Dub was a natural link to later electronic genres like techno, ambient, trip hop and electronic dance music. On this t

  • PGM 1259 MASTERS OF SPACE : sept.4-11

    PGM 1259 'MASTERS OF SPACE' : sept.4-11


    Maybe it was just a coincidence, a timely convergence, but the era of space exploration that began in the 1960s was also a formative decade for electronic music. At the time, German experimental composer KARLHEINZ STOCKHAUSEN observed that there was a natural relationship between his electronic music and images of cosmic space. Maybe it was the drugs, but it seemed right. In Germany, the late 1960s saw the rise of the "Kozmik Musik" genre; electronic nebulae blossomed all over Europe and the English speaking countries; SUN RA toured the world and played his own brand of Afro-cosmic funk, while JOHN COLTRANE and his wife ALICE released the album COSMIC MUSIC. In the 1970's the COSMIC COURIERS record label was established, PROGRESSIVE ROCK went cosmic and became SPACE ROCK, BRIAN ENO invented Ambient, and PINK FLOYD became the biggest selling band in the world after Dark Side of the Moon. It was Good Times for space fans. Today, electronic spacemusic is an established genre with a nice article in Wikipedia and

  • PGM 1258 SIX STRING UNIVERSE : aug.28-sept.4

    PGM 1258 'SIX STRING UNIVERSE' : aug.28-sept.4


    In stressful times, we seek the comfort of the familiar, the predictable, the tried and true. And in music, that often means returning to the joys and pleasures of the acoustic guitar. It's not just the foundation of what JOHN FAHEY memorably called "American primitive guitar;" in addition to its role accompanying singers, as a solo instrument it's a rich vehicle for personal expression, creative innovation, and contemplative immersion. On this transmission of Hearts of Space, we touch all those possibilities, on a program called SIX STRING UNIVERSE. Music is by CHRIS HAUGEN, FLOW, ALEX DE GRASSI, RICHARD OSBORNE, MATTHEW MONTFORT, and CLAES NILSSON. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

  • PGM 1257 VISIONS OF INFINITY : aug. 21-28

    PGM 1257 'VISIONS OF INFINITY' : aug. 21-28


    Let's talk about electronic music. As with acoustic instruments, we have freedom of expression with the core musical variables: melody, rhythm, tempo, and harmony. But we've gained the ability to create the tone, the timbre, the character, and even the spatial dimension of the electronic sound. In fact, the space or ambience of the sound becomes a fundamental artistic choice. Electronic music can create "soundscapes"—immersive images of virtual environments. Unlike the literal sound images of acoustic instruments, these electronic images can be deliberately amorphous...boundless...endless...unlimited. They can imply vast, fluid, diffuse, virtual spaces, whose dimensions are perceptually infinite. We can even make this quality the subject of the music, and call it "spacemusic"—a descriptive term that arose organically in the early days of popular electronic music. Today, ambient-electronic artists are creating sonic images of infinity—endless virtual spaces we can expand into, bathe in, savor, and explore. On