| Concept Album (original version): Option: Listen to album on Apple Music | One Way Ticket (Radio Edit Mix): Option: Listen to Radio Edit Mix on Apple Music |
| Introduction There is so much to unpack with the project. So many things were driving inspiration and effort. Escape from the toxicity and vitriol of the political climate in the U. S. started the initial push (and the album title). Then it was my ultimate love of science fiction movies, their soundtracks and composers. Then it was the awe of accomplishments of NASA that has lead us to broader success in commercial space endeavors. Yes, this album is for those who love to nerd out on NASA, sci-fi, and electronic and synth pop music. But it’s also for those who want to escape with a good concept album (remember those?) that takes a trip from start to finish, with lyrics that make you think, and music that includes interludes along the way; finishing with an absolute banger of an orchestral conclusion. |  |
Keyword: Escape
I started toying with musical and lyric ideas for a few songs that would become part of this album in the summer of 2024. It was peak season in a U.S. presidential election year, and many were fatiguing of it. There was an interest to escape it in some cases. After the election, escape was on the minds of many more (as was fear). A “one way ticket” seemed like an interesting concept, so I ran with it in the most extreme way possible: space travel beyond our solar system.
Prior to thinking about space travel, I thought it could be about simply leaving the country. Then I thought bigger: leaving planet Earth. I’ve been a huge fan of the science of space travel, science fiction, sci-fi movies and TV, and NASA. I decided to focus on a concept album that has a person (or a team) embark on a journey to a new world, well beyond our solar system. As it is a concept album, the songs are in a specific order, passing time through the journey.
Keyword: Homage
Some of these songs, or in some cases instrumentals, plays homage to soundscapes of a particular sci-fi film, or a composer who scored for a sci-fi film. One composer I didn’t attempt to pay homage to was John Williams. It was not because I didn’t admire him. Rather, there was no way I could come close to the genius of his abilities (nor of most others), so I stayed clear of his work. My efforts to pay homage are simple gestures that movie soundtrack buffs should be able to pick out.
Also, in some cases, I used samples of archive recordings from NASA personnel or astronauts during Gemini, Mercury, Apollo and STS Shuttle missions. In one track, I also used audio archives from the gold record affixed to the Voyager I and II spacecraft. This was a tribute to the amazing work NASA personnel has accomplished during and before my lifetime. While I’ve never been to space, I hope my lyrics capture a bit of that wonder and adrenaline NASA astronauts have felt over the years.
Genre: Electronic+
Those who have known me realize I dabble in many genres. But my origins are in electronic-driven pop music from my college days in the 80s and early 90s. So, as this was to be tied to science fiction, futuristic, ultra-modern/fantasy elements, I chose electronic as the genre but often with a retro feel. That is often due to retro sounds used from vintage synths. But I blended these with modern-day software such as Spectrasonics, ReFx, and East West. Lastly, Many tracks have an enormous sound which is on purpose: space is big! I wanted to envelop the listener in sound. This is an awesome headphones album (not too bad for earbuds, but you’ll miss out on some serous low end).
A Word on Lyrics
Historically, my strength has been in music composition. I have always had to work harder on lyrics. However, on this project, I knew the lyrics had to be part cerebral, part ethereal, part mysterious, and even a bit nerdy in places. Yet, it still had to work when blended with music in order to create a hook. So, I spent an incredible amount of time researching current possibilities with space travel, NASA (Gemini, Mercury, Apollo missions, along with Shuttle missions and audio archives for public domain use), and began plotting the trip in a future where such travel would be possible.
Post Production: Two album versions
The album contains 11 total tracks (3 instrumentals, 8 songs), mostly electronic pop. The final track is a hybrid: it starts electronic before transforming into an enormous Hollywood-esque orchestra-driven piece to bring the listener to our new planet. Many songs include instrumental interludes that are at the beginnings of the songs. These interludes don’t tend to make the songs “radio or playlist friendly”, and there is the attention span issue of the TikTok generation that I’m mindful of. As this is a concept album, the interludes are important. However, for those who want to skip to the songs themselves, this album will have two versions. One will be the original concept album with full interludes included. The other will be a “radio edit” mix edited without instrumental intros in 4 songs: Lunar Departure, Cryo, Passed Voyager, and The Encounter.
The track information that follows is based on the original concept album versions of each song, not the “radio edit” mixes. References to vintage instruments mentioned in these notes are specific to official licensed virtual vintage instruments from Korg, Simmons, and Roland, although I have used the hardware in many years past (just not practical for this album!).
All music written, programmed, performed, engineered, mastered, and © 2025 by MBD.
- Spaceport (Instrumental)
This instrumental was the first track recorded in July 2024. It was inspired by a public domain sound effect of a large, European train station that I repurposed as the sound of a large spaceport. This is where our story begins. The astronaut is there, with his partner/loved one waiting for the call to depart. The music slowing plays the chord progressions of the album’s namesake, One Way Ticket (track 3). While only 2 minutes in length, this soundscape is designed to set the mood and is a set-up for the next song.
Production notes: In addition to two public domain 5.1 surround sound (reduced to stereo) sound effects to create the “spaceport” sound, I used the vintage Korg WAVESTATION synth for the pad sound, and Apple’s Alchemy synth for the other musical soundscape. The short solo near the end was from a lead synth from Refx’s Nexus instrument. - Leaving
This, along with One Way Ticket, were the first 2 songs written for the album. However, while Leaving was originally written soon after the Prelude, I scraped the original attempt and reworked it into what you hear today. In our story, this is where the astronaut is trying to explain why he’s leaving and doesn’t want to be talked out of it. While the verse/chorus lyrics are fairly basic compared to the rest of the album, the bridge is where emotions begin to pour out a bit and for once, I’m a bit proud of the lyric work there.
Production notes: This track uses some vintage Roland Concerto library sounds from 1986 and 1993 for small sound effects, drum fills and a short synth pad passage. I also used numerous Refx Nexus patches for a sequenced bass and other rhythmical elements. I also utilized Apple’s ES2 synth for some vintage filler sound and Apple’s drum sampler to program the drum disco-like beats. All vocal harmonies are recorded on individual tracks.
Lyrics:
What have we done?
World turns to dust
Dreams lost in chaos
War burns every hope
As we try to cope
The end approaches.
Don’t give me reasons
Why I must stay
I have my reasons
So give me time, I’ll be okay.
It wasn’t you, no, and
It wasn’t me
I blame it on this wicked world
And I long to be free.
The time has come
Forgive me, love
This path now calls me
I seek those brighter skies
With peace of mind
New hope to find .
Don’t give me reasons
Why I must stay
I have my reasons
So give me time, I’ll be okay.
It wasn’t you, no, and
It wasn’t me
I blame it on this wicked world
And I long to be free.
I’ll still love you, through distance too
But stars demand I see this through
Endless nights, I’ll dream of you
A love so strong, yet split in two.
Tides will rise, stars will call
No more doubt, time to see them all
A strong embrace, so hard to let go
One last look, my tears overflow.
(CHORUS) - One Way Ticket
This song has a true 80s vibe and high bpm, with slight homage to one of my all-time favorite bands, a-ha. It runs around the same speed as Take On Me. This song moves the story to the launch site where the astronaut is now ready to take flight and us realizing this is truly a one way ticket to the great unknown.
Production notes: A different public domain sound effect of a train station is used here, along with a sound of a jet airplane taking off. The Korg WAVESTATION makes another appearance 3 times in this song, providing warm strings and two instances of “The Big Pad”. Spectrasonics’ Omnisphere has a great analog patch I use called “analog orbits of Jupiter”. I use Apple’s drum synth to program a processed Simmons SDS-V drum kit and other drum samples to beef up the kit a bit. Refx’s Nexus returns to provide the high pitch solo.
Lyrics:
I’ve always know it
And I’ve never cared
It’s a one way ticket
To way out there
So many choices
So many worlds out there
Has the countdown started?
Let’s get this tin can in the air.
One-way ticket to the great unknown
No turning back, the stars are my home
Out of the shadows, into the light
Into the future, my dreams take flight.
Tracing maps of worlds unknown
Dreams ignite in skyward tones
No more waiting, no more ties to bind
A new world is calling in my mind
One-way ticket to the great unknown
No turning back, the stars are my home
Out of the shadows, into the light
Into the future, my dreams take flight.
Past constellations
To a world brand new
The stars are guiding
My dream into view
Each spark of stardust
Feels like a welcome sign
A future waiting
And its light will shine.
(CHORUS) - Lunar Departure
While writing the music for this song wasn’t terribly difficult, researching the NASA audio samples was very time consuming. As the title indicates, our astronaut is launching from a lunar base, so the lyrics were to be based on the perspective from the moon. I wanted to use NASA communication audio to provide a sense of realism, from those early astronauts who truly lived it. Spoiler alert: the rocket launch sound is from the Shuttle Challenger engine launch. The first NASA astronaut is from a Mercury mission. The second NASA astronaut is from a Gemini mission.
Production notes: This song utilizes a lot of patches from Refx’s Nexus virtual instrument and Spectrasonics’ Omnisphere. Both are insanely excellent instruments for electronic music, offer thousands of options, and allow for a ton of customization. Omnisphere provided pads/strings and one arpeggio, and Nexus provided a riser, a sequence played throughout, and a different arpeggio during the chorus. I used Apple’s drum synth to tune and program the drum tracks.
Lyrics:
Silver crescent rising, a beacon in the night
Earthbound memories fading in the pale moonlight
Sea of Tranquility calls with silent grace
Footsteps on the dust, we leave no trace.
Lunar departure, pulling away, a world left behind
Dancing through the shadows of a cratered mind
Weightless in her orbit, lost but found
Earth’s reflection fading as the silence surrounds.
One final Earth rise, as prepare for flight
It is silent as we hover in the ashen light
Echoes on her surface, of what we’ve left unsaid
The moonlight cradles dreams of the lives we’ve led.
Lunar departure, pulling away, a world left behind
Dancing through the shadows of a cratered mind
Weightless in her orbit, lost but found
Earth’s reflection fading as the silence surrounds.
Staring into the void, where the stars align
Time slips through our fingers, like sand through the sky
Drifting farther away, past the pale moon’s glow
Echoes of gravity call from below
A universe unfolds, as we leave home behind
Beyond the silver tide, where fate resides
The silence is singing, a cosmic refrain
No turning back—and I’m not afraid.
(CHORUS) - Routines [instrumental]
This instrumental (albeit there is spoken word from NASA communications in background is heard) is to depict a typical day in the early days of this journey. There is the typical spaceship rumble, bleeps of a ship’s computers, etc., and then radioed instructions from NASA command (taken from recorded communications during Challenger shuttle mission). In terms of music, it’s the slowest of all tracks on the album. There is a slight homage to Vangelis, the composer of the original soundtrack to the 1982 film, Blade Runner, in the second half of the piece, as I use the exact same synth sound for the solo sound he used in the opening scenes of that film.
Production notes: Spectrasonics Omnisphere provides the rumble, strings, and they have meticulously recreated the amazing solo synth sound that Vangelis used in Blade Runner 1982. Nexus provides the actual beat in this track and Apple’s Alchemy synth provides the “first verse” solo. - Sea of Stars
At this stage of the story, space travel is far into the trip, but we haven’t yet left the solar system. This was actually the 4th song written and was totally inspired by a good friend of the family “Jim” who is an amateur astronomer. He has an impressive telescope and gathers with a group of fellow astronomers at times in dark sky areas. Seeing planets, their moons, and nebula with my own eyes changed me. After one of those experiences and seeing his passion, I wrote this song and performed it live for him and his family late in 2024 during a house concert. Musically, it pays a tiny homage to another favorite, Peter Gabriel, with its percussive and unique electronic elements and abrupt shifts he often employs from one song section to another.
Production notes: This is one of the more ambitious tracks on the album (aside from the final track). It brought my computer to its knees (which is rare, considering it is fairly high-end and rarely sweats at making music regardless of # of tracks). The combination of vintage and high-end synths in use simultaneously along with a lot of processing and unique instrumentation and programming added challenges to production. The unique organic rhythmic sound that it starts with is thanks to the tricky but awesome BioTek virtual synth. Tricky to use and control, it produces unworldly sounds I couldn’t resist. I then reached for the vintage Roland TR-707 drum machine for intro and verse beats. Bass is provided by Apple’s EFM1 instrument. The Roland Jupiter-8 is used in two ways: at the start in a sequence manner, and during the verses with another sequencer pattern. I turned to the Arturia Jup-8 virtual instrument for mellow strings, and the Roland D-50 for a glassy soundscape at the start. EastWest’s Goliath is used for its modified Stormdrum (compared to the dedicated EW Stormdrum instruments). I also employed EastWest’s Hollywood Orchestra’s Percussion to utilize their 22-inch crash cymbals. Refx Nexus provides a nice pad during the chorus sections. Native Instruments’ Jacob Collier Choir provides the amazing choir voices. Omnisphere provides some sub bass in places, and Apple’s drum sampler is used in drum programming and tuning.
Lyrics:
Drifting through the stardust haze, time is bending slow
Beyond the edge of reason, where no one dares to go
Time to unfold secrets that the universe has made
Chasing distant echoes as light begins to fade.
Through the sea of stars, we rise, in infinite skies
Leaving all we’ve known for the cosmic unknown
We are weightless and we’re free
Flying through the sea of stars, we fly alone
Far from the places that we call home.
Gravitational whispers pull us further from our past
We slip between dimensions, into shadows that won’t last
The pulse of ancient energy hums beneath our skin
We’re travelers of destiny, as the void pulls us within.
Through the sea of stars, we rise, in infinite skies
Leaving all we’ve known for the cosmic unknown
We are weightless and we’re free
Flying through the sea of stars, we fly alone
Far from the places that we call home.
In the silence, we’re dreaming
Of faces we’ve left behind
Memories like starlight
Fading slow, but intertwined
We’re more than just bodies
Still tethered to hearts afar
Eternally searching
For love in the sea of stars.
(CHORUS) - Cryo
This song starts with an interlude that pays homage to of one of my favorite sci-fi movies from 2014, Interstellar. That film soundtrack utilized quite a bit of full organ. This interlude is a blend of organ and synth pad, signifying a change that is coming: cryogenic state. While “cryo” is pure fiction in our day, I worked up lyrics to symbolize the experience of the prep and anticipation of what it will be like going into cryogenics and our thoughts of what we may feel like on the other side.
Production notes: Props goes to Omnisphere for the organ pad sound that I used to start the interlude. As I was research patches to used (needle in a haystack when it comes to Omnisphere), I stumbled across this one, tweaked it and it just worked. Another Omnisphere patch was used to add the starting rhythmical part following the organ pad. Nexus was used twice to provide sub bass parts and beats. Apple’s Alchemy was used in 3 different ways: a simple pad, an 80s synth brass used near the end as a solo-like instrument, and a sound effect scattered a bit at times. Lastly, Apple’s drum sampler was used for some drum programming as needed.
Lyrics:
Heartbeat syncs with the countdown’s tone
Drifting somewhere between the known and unknown
Numbness crawls like a whispering tide
Reality fades, pulling thoughts from my mind
Skin begins to tingle in the cryo-tube
Will I wake the same, or someone new?
We’re leaving time behind for the cosmic deep
Slipping into slumber where the future we’ll meet
Drifting through echoes of galaxies ahead
System engage the cryo.
My pulse is slowing while leaving Sol behind
We entrust our fate to circuits aligned
Crystalline visions dance in vacuums of night
As we slip through centuries in streams of light
We weave a silent vow in synthetic embrace
To wake up in a new and distant place.
We’re leaving time behind for the cosmic deep
Slipping into slumber where the future we’ll meet
Drifting through echoes of galaxies ahead
System engage the cryo. - Light Speed
Obviously, the only way to advance this story beyond our solar system is by means of transportation we haven’t yet harnessed, but in our story, we have. While we are in a cryogenic stasis, the song takes us in our “frozen slumber” into a speed that finally gets us moving towards that ultimate destination.
Production notes: This is the first track (but not the last!) that is in 3/4 time. That seems to be a bit rare these days in a world drowned in four-on-the-floor dance beats. While certainly not a waltz, this provides a nice relief and a bit of a dramatic flair in one of those larger, expansive songs mentioned in the introduction. It has some orchestral elements like the timpani roll, but actually, it utilized mostly vintage instruments. Roland’s Juno 106 provides the introductory arpeggio along with 2 other sounds further into the track. Roland’s D-50 is used towards the end to provide a bit more drama towards the end. East Wast Hollywood Orchestra provides the timpani and crash cymbals. and Refx Nexus provides two separate patches to combine into what is the bass elements of the track. Lastly, Apple’s drum synth is used for programming.
Lyrics:
I’ve drifted in silent wonder since the moment we soared
Now in frozen slumber, all sense of time is ignored
Galaxies swirl beyond our shell
Destiny begins to reveal itself.
Light Speed, please carry me to the glow that is tomorrow
Guide me through the cosmic sea of stars on a path we’ll follow
To a brand-new world I’ll soon call home.
No backward glance or regret, the past is done
And I know, a bright tomorrow crowns our new morning sun
My heart’s awake in a silent glow Eager for the world I soon will know.
Light Speed, please carry me to the glow that is tomorrow
Guide me through the cosmic sea of stars on a path we’ll follow
To a brand-new world I’ll soon call home. - Passed Voyager
At this point in our story, we’re still cruising at light speed, and have flown past the voyager probes. But this song takes time to remember these relics of the past (at least in our story). Both probes have a golden record attached to its outer surface with etched instructions on how to play its message. This song starts with the first recording on the record: a greeting from Kurt Waldheim, the (then) Secretary-General of the United Nations prior to the 1977 launch of the Voyager probes. After the first chorus, I used samples from some of the recorded welcome messages recorded to the record by people from around the world in many different languages. I couldn’t use all of them, so I picked what would fit in the space I had for the two areas where the “welcomes” would be placed. I fretted about whether to include Russian and Hebrew/Israeli, currently aggressors in today’s world. But in the spirit of the Voyager probes, I chose to include them, but at the very end.
Production notes: Musically, the Nexus and Alchemy instruments dominate the sound here. Alchemy accompanies the secretary-general at the beginning, then Nexus kicks in with the rhythm and arpeggios to get the song going. I bring in a vintage Linn LM-1 drum machine once the song gets going. Apple’s drum synth is used for drum programming and tuning.
Lyrics:
(spoken welcome message by Kurt Waldheim, 1977 Secretary-General of UN, as recorded on Voyager I, II golden record)
Golden echoes hum and call
Tracing loops that never fall
Voyager 1 behind me fades
Lost within its own decades.
Long passed Voyager, light years away
Brushing past the relics, fading to grey
No return, no echo, no yesterday
Just a ghost in motion, slipping away.
(interlude with multilingual welcome messages)
Spectral signals bend and break
Waves of light in tangled wake
What was real now ricochets
Spirals lost in time’s cascade.
(interlude with multilingual welcome messages)
Long passed Voyager, light years away
Brushing past the relics, fading to grey
No return, no echo, no yesterday
Just a ghost in motion, slipping away. - The Encounter
If you can survive the 1 minute 25 second interlude, the actual song is worth the wait! The interlude is really what I would call, Contact. It was fun to create, harking back to my college days of creating sounds from scratch using the Moog modular synthesizer and reel-to-reel tape (except in this case, using virtual instruments to create sound!). But during this interlude is where we are experiencing first contact. Perhaps a vessel is approaching, communication sounds are being broadcast, and there is a lot of uncertainty. An uneven beat is provided early on before the song kicks in to provide a slight discomfort. That beat is reminiscent of one you will hear in the sci-fi film soundtrack for The Fifth Element by Éric Serra (another huge favorite film and soundtrack of mine). The lyrics then describe the encounter with a being of some kind. Both are unsure how to respond or react but the being does try to communicate in verse 2 before disappearing very quickly.
Production Notes: There is a lot of custom-programmed Nexus and Omnisphere patches used here, but what really catches the ear is when the chorus hits: 3-part harmony. No harmonizers used here, folks. I do use the amazing ChromaGlow effect from Apple to provide some punch to the vocals, along with the equally amazing QRS reverb effect to give the vocals a larger than life sound. Nexus is used for bassline and a separate arpeggio. Omnisphere is used for many interlude effects. Apple’s drum synth is used for drum programming and tuning.
Lyrics:
Silent air, a hush in time
Suddenly the static climbs
Piercing through my trembling mind
Something tries to find a way inside.
Drifting close, now eye to eye
Metal skin reflects the sky
Silent as a frozen breath
Neither moves, as we second-guess.
Can we make peace, or is this a warning?
Is a fragile trust slowing forming?
Do I dare to speak, or remain unspoken?
Universe is listening with arms wide open.
Shapes appear just out of sight
Words unformed in strobing light
Heartbeats sync with coded signs
Reaching out, we cross the line.
Lights align, a signal flares
Symbols floating in the air
They turn away, their distance grows
It’s a gift that no one will ever know.
Can we make peace, or is this a warning?
Is a fragile trust slowing forming?
Do I dare to speak, or remain unspoken?
Universe is listening with arms wide open. - Journey’s End
At this point in the story, our vessel is approaching the destination. There are expected to be massive emotions after we wake from cryo and seeing the new planet. We then begin a decent through a violent atmosphere and finally make our way to the surface of our new home. This new life is a start of a new beginning that is more organic, analog (not digital) and back to basics, and so the music is mirroring this in its construction.
In trying to determine a fitting end to the album, I was torn as to whether write a song or conclude with an instrumental. I really wanted to pay tribute to Star Trek movie music in some way. I toyed with a 4-note motif for a while. It was ridiculously hard to work with (chord progressions and such), but I stuck with it. It reminded me a bit of Cliff Eidelman’s soundtrack for Star Trek VI’s opening credits. At the same time, I fully realized that this album was an electronic/synth-pop album, not an orchestral soundtrack album. What to do? As another homage to another favorite sci-fi movie, Tron: Legacy, Daft Punk’s end credits to that film started as fully electronic and slowly transitioned into fully orchestral by its end. So I decided to begin with electronic elements and then brought in orchestral elements, beginning with violins. In another homage, the cellos introduced my 4-note theme in a way that might remind you of one or more Alien movies that utilize the cello section to introduce their movie’s themes. After that, the full string section kicks in, followed by the brass section taking a try before the high strings joining in for a huge peak at the mid-point.
A brief melancholy section begins with an oboe solo. This is when our traveler(s) have a momentary remembrance of what they’ve left behind, noting that during the centuries that have passed, our loved ones are no longer with us. Timpani starts bringing us back into the moment and right back into the euphoria that is the new home world. This is the ending of the album as we step outside, realizing that a new day is upon us and we have a new lease on life.
Production notes: Orchestrating (technically, electronically scoring) a piece such as this is very difficult, not to mention incredibly demanding on hardware. My go-to orchestra library is the award-winning products of East West. While they can bring a computer to its knees, their sound is unmatched. Using 20 separate instances of EW Opus running simultaneously, all playing different EW Hollywood Orchestra instruments, I was able to orchestrate this massive work. In addition, I also used East West Forbidden Planet, Refx Nexus and Spectrasonics Omnisphere all early on during the electronic section of the work before transitioning to full orchestral score. East West Stormdrum 2 and 3 are also used, and all parts of the Hollywood Orchestra product are used. This piece is in 3/4 time.
I hope you enjoyed the trip as much as I enjoyed laying the groundwork and completing the musical journey. It was part passion, part escape, and shear joy in being able to offer homage and dedication to those I consider to be amazing humans in their fields of science and astronautics.
–Michael Barrett Dixon, April 15, 2025.