Thanks for that. The video was excellent... Beautiful visuals and music.
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Klaus Schulze was such a huge influence to me, back in the 90s, and yet I have no interest at all in his later work. He's one of those few artists who has dropped off so drastically in my estimation that it sometimes surprises me to remember how important I used to consider him.
Samples sound nice, especially the last one.
As much as I love Steve Roach' music, I have to say that I would like to see more variation in his sound.
I don't mind when he uses similar sounds and patterns across various albums, as long as it's not too much and too obvious....but the overall sound character is very much the same on most albums after 2001 or so.
It's that highly polished, reverb-laden, glimmering sound of his. You could say that's simply his style, but it would be very interesting if he could make something a bit more dry, gritty, noisy, low-fi sounding some time... to create different moods and atmospheres....something you wouldn't instantly recognize as that Steve Roach sound.
I also think 'sublime' doesn't mean quite the same thing to people anymore, so the sense of opposition between beauty and 'the sublime' wouldn't necessarily be apparent (unless somebody was already familiar with the content of Burke's essay.)
I haven't read this essay by Burke, but Robert have you ever read Nietzche's "On Those who are Sublime"? It's a chapter from Thus Spoke Zarathustra, and I've always found it a wonderful read. A link here with a translation not too familiar to me: http://nietzsche.thefreelibrary.com/Thus-Spake-Zarathustra/37-1
[...] Check this dude's (from ambientmusicguide.com, which dubs itself 'a guide to essential ambient and downtempo albums) review out:
During the 1980's Steve Roach albums were modest in number but consistent in quality. The 1990's and beyond are a different story. Literally dozens of solo and collaborative works have appeared since Sound Of The Earth and their appeal varies enormously. The most difficult of these tend to be works centred around the themes of palaeontology, shamanism and the primordial mind. The dominance of these themes marks a shift in focus from the outer worlds of his middle period music (eg. the impressionism of Western Spaces) to exploring the evolution of our own inner worlds. Unfortunately albums like Origins (1993), Artifacts (1994), The Magnificent Void (1996) and Early Man (2001) retreat into dark worlds of dissonance and strangeness where melody and harmony are virtually outlawed. The sound is one or a combination of rhythmic tribal elements, atonal soundscaping and grim atmospheres. It's fine in moderate doses, certainly, and some hardcore Roach fans swear by such works. But like most dark ambient they are an acquired taste and if you're a newcomer to his music, forget it.[...]
I’d say that this 'ambientguide' is a very poor guide, failing to properly represent the nature of the music while smearing the representing of the tastes of the ‘guide’ all over it. For a start, it departs from the premiss that the 80s Roach albums are some kind of benchmark of ‘quality’ against which what follows is somehow degenerate. This is a value judgment presented as simple fact. The ‘ambientguide’ sets up a kind of opposition between the early period Roach (= ‘quality’), against which later period Roach is assessed (= ‘difficult’). The question of ‘difficult for whom’ is begged. Personally, I find more Roach works from the pre-90s period ‘difficult’ – this is entirely subjective admittedly, but the guide somehow smuggles his value judgments in under the guise of analysis or description.
And it is simply wrong to state that the later works mentioned are characterised by ‘dissonance’, and that ‘melody and harmony are virtually outlawed’. This is based on a simplistic assessment that’s clearly made by a non-musician. I can state - from my knowledge as a (non-practising) musician - that there is plenty of consonance, melody and harmony in these works, albeit much of it not of the dully conventional kind that must have been deployed by our cloth-eared ‘ambientguide’ as part of his inadequate assessment scheme. The last parts of this ‘review’ consist of lazy journalistic tropes and facile dismissals. I can think of any number of newcomers who would respond to e.g. Mystic Chords... or Early Man far more positively than, say, Now Traveler or Stormwarning, for the sake of example.
This piece is just garbage, basically, dressed up in well-turned prose, through which it gets through, masquerading as authoritative. I don’t know how any authority can become attached to such toss. If this guy were my ambientguide, I’d soon lose interest in the journey.