Today's selection is a Journey Through a Burning Brain: really old stuff by German electro-nauts Tangerine Dream, made (believe it or not) on a two-track ReVox tape recorder.
Enjoy the ride.
"One of my most tense influences is the concept of juxtaposing collaborative processes, which integrates my microtone and causes my invention to become somewhat experimental. If one concept must be grasped, it is this: the quasi-microtonal noise always improvises the clusters, and it must do so entirely collaboratively. My work aims to decipher chorally-theoretical platforms with disparately-disparate chords whilst superimposing certain fundamentals or cognitive notions.
I never superimpose unities, despite the fact that any composer or isorhythm can be, and has been interpreted as a rather popularly-collaborative set of 'art-elements'. I coined the term 'phenomenon-sketch-music' to describe my most radical approaches to discontinuous composition. My dynamic collaborations have led me to explore the tense potential of tessituras and timbres, and incorporate the creation of situations in which the experiencing of a vision has the potential to challenge all sorts of cultural passage-perceptions."
--From The Contemporary Classical Composer's Bullshit Generator.
Enjoy the ride.
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| A ReVox two-track A77 Tape Recorder: the machine used to record Electronic Meditation. |
Complete performance of Electronic Meditation by Tangerine Dream.
Track listing:
1. Genesis
2. Journey Through a Burning Brain
3. Cold Smoke
4. Ashes to Ashes
5. Resurrection
Above content © 1969 by Edgar Froese, Conrad Schnitzler and Klaus Schulze.
Reissue © 2002 Sanctuary Records.
Reissue © 2002 Sanctuary Records.
Rights held by the Universal Music Group.
Reproduced here for promotional purposes only.
"One of my most tense influences is the concept of juxtaposing collaborative processes, which integrates my microtone and causes my invention to become somewhat experimental. If one concept must be grasped, it is this: the quasi-microtonal noise always improvises the clusters, and it must do so entirely collaboratively. My work aims to decipher chorally-theoretical platforms with disparately-disparate chords whilst superimposing certain fundamentals or cognitive notions.
I never superimpose unities, despite the fact that any composer or isorhythm can be, and has been interpreted as a rather popularly-collaborative set of 'art-elements'. I coined the term 'phenomenon-sketch-music' to describe my most radical approaches to discontinuous composition. My dynamic collaborations have led me to explore the tense potential of tessituras and timbres, and incorporate the creation of situations in which the experiencing of a vision has the potential to challenge all sorts of cultural passage-perceptions."
--From The Contemporary Classical Composer's Bullshit Generator.
