On The Ethos of the 70s, 80s | Electronic Music and the Sounds of the Future
by Eddie Beato
by Eddie Beato
...The present article was first titled on the Ethos of the 70s & 80s. Electronic music, like the controversial field of Ufology and Interstellar traveling, would affect our futuristic views of the new Millennium (2000).
By rolling down the scroll, you may find some links to the electronic music, writers and ethos which once shaped our interpretation of science, spirituality and transcendence in the twentieth century.
Though I do not necessarily prescribe to the claims and views of some authors purporting to prove the reality of extraterrestrials, I have carefully considered the trustworthy testimonies of Paul Hellyer (former Minister of Defense in Canada) and Edgar Mitchell (former astronaut, USA):
Paul Hellyer, former Minister of Defense of Canada reveals ufo's
https://m.youtube.com/watch?v=0v4sq2akgtE
Nevertheless, few Christians would dispute the "linear trajectory of our explorative human species beyond the shores of Asia Minor," Mesopotamia, India, China, America, Antarctica, the Mariana Trench (deepest bottom of the ocean-floor), and even to the most inhospitable places of our planet Earth.
It is logical to conclude that, our human species, like in times past, would continue this evolutionary trajectory along the path of our forefathers.
Vain references to fabulous farther-lands could be surmised in the authors of the Bible, but their universe, in the purview of the hitherto known world (Asia minor), is ringed by the shorelines of the Dead Sea and the Aegean Sea. But beyond this world of St. Paul's smattering knowledge of geography and Homer's Odyssey, there is to be found the splendid lands of China, India, America, La Antártica.
How Big Was the World For The Apostles of the New Testament?
By rolling down the scroll, you may find some links to the electronic music, writers and ethos which once shaped our interpretation of science, spirituality and transcendence in the twentieth century.
Though I do not necessarily prescribe to the claims and views of some authors purporting to prove the reality of extraterrestrials, I have carefully considered the trustworthy testimonies of Paul Hellyer (former Minister of Defense in Canada) and Edgar Mitchell (former astronaut, USA):
Paul Hellyer, former Minister of Defense of Canada reveals ufo's
https://m.youtube.com/watch?v=0v4sq2akgtE
Nevertheless, few Christians would dispute the "linear trajectory of our explorative human species beyond the shores of Asia Minor," Mesopotamia, India, China, America, Antarctica, the Mariana Trench (deepest bottom of the ocean-floor), and even to the most inhospitable places of our planet Earth.
It is logical to conclude that, our human species, like in times past, would continue this evolutionary trajectory along the path of our forefathers.
Vain references to fabulous farther-lands could be surmised in the authors of the Bible, but their universe, in the purview of the hitherto known world (Asia minor), is ringed by the shorelines of the Dead Sea and the Aegean Sea. But beyond this world of St. Paul's smattering knowledge of geography and Homer's Odyssey, there is to be found the splendid lands of China, India, America, La Antártica.
How Big Was the World For The Apostles of the New Testament?
Those who authored the Bible had precarious records, nay, scanty knowledge on the true size of our planet earth: they confined their narrow world, prophecies and spacious circumference as did Homer his fabulous stories.
In a beautiful introduction by Gilbert Highet to the Iliad and the Odyssey (translated by Andrew Lang, Walter Leaf and Ernest Meyer, page vi) I read the following excerpts):
"...Geographically speaking, the world of the poem is fairly narrow. It is wider than the world we see through the early works of the Old Testament, but it is still limited: mainland Greece, the western coast of Asia Minor, Crete and Cypress, Phoenicia, Egypt, the Greek islands; and beyond these, a realm where reality merges with fantasy, the land of the Lotus-eaters who live in the peaceful African oases, the dangerous shores of south Italy with the sea monster Scylla and the whirlpool Charybdis, traces of Sicily with its cave-dwelling giants, hints of the remote northern lands where it is always foggy and dark, and at last the ocean rolling round the world."
But beyond this small world of Homer and the Apostles of the New Testament, there is to be found the untamed lands of a hitherto unknown terrible people of light complexion and piercing blue eyes: the Aryan Race.
Attila, The Barbarian Who Challenged Rome by John Man, page 18:
"In AD Tacitus painted a picture of the landscape of Germania. Beyond the Rhine, he says, the landscape was informis --unshaped, hideous, dismal: the world has all theses senses. The Hercynian forest, named after an ancient Greek term for the forest of Bohemia in today's Czech Republic, was by extension the three-covered region that stretched from the Rhine to the Elbe.
Pliny claimed that its huge oaks had never been cut or lopped since the world began. People said it took 9 days to cross north to south, and 60 days for 500-kilometre east-west journey --note that, in the words of Julius Caesar, 'anyone in Germany can say that he has heard about the end of the forest.' Here lived beasts unknown elsewhere, some dangerous elk with horns like three-boughs, brown bear, wolf, and aurochs, the European bison. Rome and Greece looked back to legends and Arcadia groves, recalling a time when even Greece was forested; but not anything so uncharming and impenetrable as this."
But even beyond this dismal world of endless untamed woods, don't forget that in the year 1295, Marco Polo (1271–1368) came to Venice with good tidings of a new, a hitherto unknown race of pale complexion living in the distant bourne-corners of the world: the Chinese!
And in 1492, Christopher Columbus discovered a new world populated with people of dark complexion: America's Aborigines; and finally, we set foot on the frigid lands of the Antarctica, and the North Pole... The world was bigger than the Asia Minor of St. Paul's cosmogony in the New Testament.
The Chinese people, with their peculiar physical traits and culture, even today may strike us as human beings from another world.
Today, like the adventurous conquistadores of former times, we are steering up our explorative space-craft-ships onto the celestial shores of other planetary systems --other strange worlds--whose milieus, perhaps one day would allow our human species to migrate beyond the dogmatic conceptions of our earthly chauvinism (tribalism, fanaticism, racism and other barbaric primitive behaviors).
Some Christians, regardless of religious denominations, have come forward to join us in a new interpretation of our religious faith: from minimalism to polytheism, from polytheism to monotheism, and from this latter to a transcendent interconnectedness in the mystery of Christ.
*************************************
The Case of Billy Meier:
https://m.youtube.com/watch?v=3GUDJ3Ia6lc
It is easy to dismiss the case of Billy Meier, an abductee, as a hoaxer, a charlatan. Nevertheless, I am bound to admit a chilly delight when separating what is fact from fiction. Despite our tendency to downplaying any unheard-of story, I would rather believe Meier is an honest man of high probity.
When one comes across an otherworldly writer like Billy Meier, the phenomena of extraterrestrial visitations, UFO sightings, could fill my mind with mixed feelings of joy and perplexity.
For the most part, people purporting to be in contact with extraterrestrials, are said to be endowed with psychic abilities: telepathy, remote-viewing, clairvoyance. Once such contact is established, the witness would undergo some extraordinary internal changes in the "definition of life;" but also, as asserted by some abductees, an internal transformation, an epiphany, could hone the mind to higher faculties, sharpness and sensibilities.
At any rate, it is quite a wonder to admitting a simple humble peasant, un campesino, which is often the favorite human being for some Aliens, could then express himself like an illustrious Doctor Faustus in the mysteries of this universe: with absolute trustworthiness, brilliance and reliance.
However debunked by some detractors as a "first-case charlatan," one is compelled to admitting an air of reverence, calmness and purity surrounding this man's gentle countenance.
When the case is closely investigated in the rigor of skepticism and academia, one is bound to admitting something unearthly in this humble man from Switzerland.
Reverend Billy Meier
In a beautiful introduction by Gilbert Highet to the Iliad and the Odyssey (translated by Andrew Lang, Walter Leaf and Ernest Meyer, page vi) I read the following excerpts):
"...Geographically speaking, the world of the poem is fairly narrow. It is wider than the world we see through the early works of the Old Testament, but it is still limited: mainland Greece, the western coast of Asia Minor, Crete and Cypress, Phoenicia, Egypt, the Greek islands; and beyond these, a realm where reality merges with fantasy, the land of the Lotus-eaters who live in the peaceful African oases, the dangerous shores of south Italy with the sea monster Scylla and the whirlpool Charybdis, traces of Sicily with its cave-dwelling giants, hints of the remote northern lands where it is always foggy and dark, and at last the ocean rolling round the world."
But beyond this small world of Homer and the Apostles of the New Testament, there is to be found the untamed lands of a hitherto unknown terrible people of light complexion and piercing blue eyes: the Aryan Race.
Attila, The Barbarian Who Challenged Rome by John Man, page 18:
"In AD Tacitus painted a picture of the landscape of Germania. Beyond the Rhine, he says, the landscape was informis --unshaped, hideous, dismal: the world has all theses senses. The Hercynian forest, named after an ancient Greek term for the forest of Bohemia in today's Czech Republic, was by extension the three-covered region that stretched from the Rhine to the Elbe.
Pliny claimed that its huge oaks had never been cut or lopped since the world began. People said it took 9 days to cross north to south, and 60 days for 500-kilometre east-west journey --note that, in the words of Julius Caesar, 'anyone in Germany can say that he has heard about the end of the forest.' Here lived beasts unknown elsewhere, some dangerous elk with horns like three-boughs, brown bear, wolf, and aurochs, the European bison. Rome and Greece looked back to legends and Arcadia groves, recalling a time when even Greece was forested; but not anything so uncharming and impenetrable as this."
But even beyond this dismal world of endless untamed woods, don't forget that in the year 1295, Marco Polo (1271–1368) came to Venice with good tidings of a new, a hitherto unknown race of pale complexion living in the distant bourne-corners of the world: the Chinese!
And in 1492, Christopher Columbus discovered a new world populated with people of dark complexion: America's Aborigines; and finally, we set foot on the frigid lands of the Antarctica, and the North Pole... The world was bigger than the Asia Minor of St. Paul's cosmogony in the New Testament.
The Chinese people, with their peculiar physical traits and culture, even today may strike us as human beings from another world.
Today, like the adventurous conquistadores of former times, we are steering up our explorative space-craft-ships onto the celestial shores of other planetary systems --other strange worlds--whose milieus, perhaps one day would allow our human species to migrate beyond the dogmatic conceptions of our earthly chauvinism (tribalism, fanaticism, racism and other barbaric primitive behaviors).
Some Christians, regardless of religious denominations, have come forward to join us in a new interpretation of our religious faith: from minimalism to polytheism, from polytheism to monotheism, and from this latter to a transcendent interconnectedness in the mystery of Christ.
*************************************
The Case of Billy Meier:
https://m.youtube.com/watch?v=3GUDJ3Ia6lc
It is easy to dismiss the case of Billy Meier, an abductee, as a hoaxer, a charlatan. Nevertheless, I am bound to admit a chilly delight when separating what is fact from fiction. Despite our tendency to downplaying any unheard-of story, I would rather believe Meier is an honest man of high probity.
When one comes across an otherworldly writer like Billy Meier, the phenomena of extraterrestrial visitations, UFO sightings, could fill my mind with mixed feelings of joy and perplexity.
For the most part, people purporting to be in contact with extraterrestrials, are said to be endowed with psychic abilities: telepathy, remote-viewing, clairvoyance. Once such contact is established, the witness would undergo some extraordinary internal changes in the "definition of life;" but also, as asserted by some abductees, an internal transformation, an epiphany, could hone the mind to higher faculties, sharpness and sensibilities.
At any rate, it is quite a wonder to admitting a simple humble peasant, un campesino, which is often the favorite human being for some Aliens, could then express himself like an illustrious Doctor Faustus in the mysteries of this universe: with absolute trustworthiness, brilliance and reliance.
However debunked by some detractors as a "first-case charlatan," one is compelled to admitting an air of reverence, calmness and purity surrounding this man's gentle countenance.
When the case is closely investigated in the rigor of skepticism and academia, one is bound to admitting something unearthly in this humble man from Switzerland.
Reverend Billy Meier
Jean Michel Jarre - Oxygen II
https://m.youtube.com/watch?v=hD4KMp22jB
The kinetic music of Jean Michel Jarre, the quintessence of Henri Bergson's philosophy, Creative Evolution, would attract a new generation disaffected with organized religion, but still willing to experience a transcendent spirituality in the Sounds of the Future.
Back in the 60s, as the prospect of science and astronomy seemed to bring us closer to the possibility of interplanetary contact with extraterrestrials, a new generation of writers, researchers and artists would embark in a journeying-explanation to the meaning of life on Earth.
Scanning the Sky in the 1980s
https://m.youtube.com/watch?v=hD4KMp22jB
The kinetic music of Jean Michel Jarre, the quintessence of Henri Bergson's philosophy, Creative Evolution, would attract a new generation disaffected with organized religion, but still willing to experience a transcendent spirituality in the Sounds of the Future.
Back in the 60s, as the prospect of science and astronomy seemed to bring us closer to the possibility of interplanetary contact with extraterrestrials, a new generation of writers, researchers and artists would embark in a journeying-explanation to the meaning of life on Earth.
Scanning the Sky in the 1980s
French composer, Jean Michel Jarre, which, by the way, is not known to have dabbled with the controversial field of Ufology, his synth music, nonetheless, seems to strike kindred with the futuristic promises of science. His Magnus Opus, Oxygen (1976), attempts to capture the evolution of life in the cosmogony of intelligence and consciousness. Oxygen, like the music of the spheres of Pythagoras, has inspired many writers to the possibility of a future encounter with extraterrestrials.
The idea that human beings are intrinsically explorers, "conquistadores," as deduced from the lessons of history in the America of Christopher Columbus, would make it very plausible to assume the far-fetched possibility, that given the right circumstances, a privileged humanity would be able to travel to the distant stars.
The idea that human beings are intrinsically explorers, "conquistadores," as deduced from the lessons of history in the America of Christopher Columbus, would make it very plausible to assume the far-fetched possibility, that given the right circumstances, a privileged humanity would be able to travel to the distant stars.
As we approached the year 2000, the omega point in the history of our civilization, the universe had never been so attractive to our high-flown desires for any contact with extraterrestrials.
The skies above, spacious, mysterious, are always welcoming the fanciest aspirations to our human species. With our flying machines, the airplanes, and the skyrocket music of composers the likes of Wagner or Jarre, the prospect of interstellar traveling would seem the greatest event in the history of our human species.
Back in the 1970s, it was believed, at least by some scientists, that our human species would be able to set foot on the surface of the planet Mars before the year 2000.
Writers the likes of Eric Von Daniken, Chariots of the Gods, and Carl Sagan, Contact, would soon gather proselytes all over the globe. The evolution of our human species, hitherto, seems to be consistent with the higher strivings of Mother Nature, that is to say, in the history of intelligent awareness, there is to be found an ever present creative impetus to mastering the forces of nature. These biological dynamics, the underlying Rhythmic Patterns of Creation, are always willing to overcoming any hurdles in the equation of life. Perhaps this biological impetus, this Will-To-Exist, would propel us across our wildest dreams towards the outer reaches of the cosmos.
While Carl Sagan's famous book, Contact, does not provide basis to admitting extraterrestrial visitations for the origin of some religious systems as those of The Old Testament in the Bible, his famous Cosmos, a worldwide televised documentary on the origin of everything, would soon spark the imagination of artists and writers alike.
For some modern thinkers, nonetheless, our early encounters with angels, deities and gods (the Book of Genesis, Ezequiel Chapter 1), however tinted by the mist of time in the primitive religious ideas and fables of our ancestors, are to be assessed as perhaps periodic visitations of technologically advanced entities from outer space.
The skies above, spacious, mysterious, are always welcoming the fanciest aspirations to our human species. With our flying machines, the airplanes, and the skyrocket music of composers the likes of Wagner or Jarre, the prospect of interstellar traveling would seem the greatest event in the history of our human species.
Back in the 1970s, it was believed, at least by some scientists, that our human species would be able to set foot on the surface of the planet Mars before the year 2000.
Writers the likes of Eric Von Daniken, Chariots of the Gods, and Carl Sagan, Contact, would soon gather proselytes all over the globe. The evolution of our human species, hitherto, seems to be consistent with the higher strivings of Mother Nature, that is to say, in the history of intelligent awareness, there is to be found an ever present creative impetus to mastering the forces of nature. These biological dynamics, the underlying Rhythmic Patterns of Creation, are always willing to overcoming any hurdles in the equation of life. Perhaps this biological impetus, this Will-To-Exist, would propel us across our wildest dreams towards the outer reaches of the cosmos.
While Carl Sagan's famous book, Contact, does not provide basis to admitting extraterrestrial visitations for the origin of some religious systems as those of The Old Testament in the Bible, his famous Cosmos, a worldwide televised documentary on the origin of everything, would soon spark the imagination of artists and writers alike.
For some modern thinkers, nonetheless, our early encounters with angels, deities and gods (the Book of Genesis, Ezequiel Chapter 1), however tinted by the mist of time in the primitive religious ideas and fables of our ancestors, are to be assessed as perhaps periodic visitations of technologically advanced entities from outer space.
As we re-appraise the technological advances of our current civilization, it is logical to assume that, provided sufficient time and resources could be granted to our human species (i.e. the absolute mastery of the riddles of time, space, matter and energy), the possibility to reaching the shorelines of planetary systems is perhaps within the purview of our intelligence.
The cosmic clock of our human evolution clicks inexorably in the direction of a mind-boggling technology --indistinguishable from magic-- but there are setbacks to our scientific alterations to the laws of Mother Nature; nay, our capacity to destroying ourselves runs counter to our higher aspirations onto the celestial shores of other solar systems.
That said, it is, nevertheless, striking the creative intelligence of human beings on the brink of disasters. More than once, we had escaped, by the luckiest chains of events in the flimsy skein of destiny (1960s, 1980s), a nuclear pandemonium with the former Soviet Union.
As we reached the amphitheater of the year 2000, a world population reaching almost 7 billion, our civilization displayed an astonishing capacity to finding solutions to some of our most daunting challenges: a nuclear disaster, overpopulation in big cities, deforestation and rampant pollution of our ecosystem.
The cosmic clock of our human evolution clicks inexorably in the direction of a mind-boggling technology --indistinguishable from magic-- but there are setbacks to our scientific alterations to the laws of Mother Nature; nay, our capacity to destroying ourselves runs counter to our higher aspirations onto the celestial shores of other solar systems.
That said, it is, nevertheless, striking the creative intelligence of human beings on the brink of disasters. More than once, we had escaped, by the luckiest chains of events in the flimsy skein of destiny (1960s, 1980s), a nuclear pandemonium with the former Soviet Union.
As we reached the amphitheater of the year 2000, a world population reaching almost 7 billion, our civilization displayed an astonishing capacity to finding solutions to some of our most daunting challenges: a nuclear disaster, overpopulation in big cities, deforestation and rampant pollution of our ecosystem.
The Transcendence in the Music of J. M. Jarre:
Oxyegen VI
https://m.youtube.com/watch?v=TSWQb5aQ_LI
Oxygene, trance-music, which is ideal for meditations, introspection into the inner chambers of our mind, according to the testimonies of some techno-music enthusiasts, could even transform us into new insulated capsules of self-awareness, however existing in the internetwork of will and consciousness. After listening to this otherworldly cosmic music, Oxygene I, some listeners claim to experiencing a blissful buoyancy, a transcendence, capable to setting us free from the shackles of time and space.
Trance Music, like the power of any religious experience, according to these new agers, could also elevate us to higher realms of consciousness, and the riddles of time and space may be unraveled in the portals of our mind. Here lies the key to unlocking all the riddles of interstellar traveling, for everything ought to be traced as mere flashes, stimuli and reflections of our own mind's multidimensional universe: the true matrix in all the conundrums of existence. For these folks, we all live in a web of dreams.
Traversing the Cosmos in the Inner Space of Our Mind (1980s)
Oxyegen VI
https://m.youtube.com/watch?v=TSWQb5aQ_LI
Oxygene, trance-music, which is ideal for meditations, introspection into the inner chambers of our mind, according to the testimonies of some techno-music enthusiasts, could even transform us into new insulated capsules of self-awareness, however existing in the internetwork of will and consciousness. After listening to this otherworldly cosmic music, Oxygene I, some listeners claim to experiencing a blissful buoyancy, a transcendence, capable to setting us free from the shackles of time and space.
Trance Music, like the power of any religious experience, according to these new agers, could also elevate us to higher realms of consciousness, and the riddles of time and space may be unraveled in the portals of our mind. Here lies the key to unlocking all the riddles of interstellar traveling, for everything ought to be traced as mere flashes, stimuli and reflections of our own mind's multidimensional universe: the true matrix in all the conundrums of existence. For these folks, we all live in a web of dreams.
Traversing the Cosmos in the Inner Space of Our Mind (1980s)
How to wake up from this illusion is the gist of most transcendentalists.
Following the same train of thoughts, the essential noumena (the thing in itself of Immanuel Kant) is akin to the universal truths veiled in the metaphysical jargon of any genuine religion, i.e., Love, G-O-D, are universal principles, nay, as much present in Nature, the Cosmos and all the psychic phenomena stemming from the will-to-exist in the higher realms of sentience and consciousness. Miracles, magic --a web of dreams through a greater reality-- are all possible when one is believed to be in possession of this esoteric knowledge.
A new understanding of ourselves, gnosis, through the music of the higher spheres, trance-music, prayers, meditations, would grant the diligent disciple the ticket for interstellar traveling. Expressed in a few words: the cosmos is within us, it is revealed to us in the depths of our inner worlds.
Before we steer our ship into the oceanic distances of this fabulous journey across our inner cosmos, let us first re-embrace ourselves as sentient beings, and holding ourselves aware of the present moment, as conscious beings, let us then plug our mind to this Cosmic Wide Web beyond the matrix of time and space.
The Mind Is the Portal - The X-Noumena of Immanuel Kant:
Some Idealists, for the most part transcendentalists with strong scientific leanings, eagerly, sought to explaining the phenomenon of religion, as our rightful patrimony with God, an Omniscient Spirit, which seems to be as much part of ourselves in the mysteries of Christ: this is the first striking chord in the cosmic music of existence, "consciousness," existing beyond the fetters of time and space (John Chapter 1).
Our Mind the X of Immanuel Kant
Following the same train of thoughts, the essential noumena (the thing in itself of Immanuel Kant) is akin to the universal truths veiled in the metaphysical jargon of any genuine religion, i.e., Love, G-O-D, are universal principles, nay, as much present in Nature, the Cosmos and all the psychic phenomena stemming from the will-to-exist in the higher realms of sentience and consciousness. Miracles, magic --a web of dreams through a greater reality-- are all possible when one is believed to be in possession of this esoteric knowledge.
A new understanding of ourselves, gnosis, through the music of the higher spheres, trance-music, prayers, meditations, would grant the diligent disciple the ticket for interstellar traveling. Expressed in a few words: the cosmos is within us, it is revealed to us in the depths of our inner worlds.
Before we steer our ship into the oceanic distances of this fabulous journey across our inner cosmos, let us first re-embrace ourselves as sentient beings, and holding ourselves aware of the present moment, as conscious beings, let us then plug our mind to this Cosmic Wide Web beyond the matrix of time and space.
The Mind Is the Portal - The X-Noumena of Immanuel Kant:
Some Idealists, for the most part transcendentalists with strong scientific leanings, eagerly, sought to explaining the phenomenon of religion, as our rightful patrimony with God, an Omniscient Spirit, which seems to be as much part of ourselves in the mysteries of Christ: this is the first striking chord in the cosmic music of existence, "consciousness," existing beyond the fetters of time and space (John Chapter 1).
Our Mind the X of Immanuel Kant
This Will-O'-The-Wisp of the transcendentalist, "consciousness," seems to permeate the visible universe with something kindred, congenial to the nature of highest essences in the phenomena of light, water and oxygen --the necessary conditions for the possibility of existence. But the Spirit that moves in the oceanic depths of the Book of Genesis, Consciousness, achieved its highest pitch and culmination in the phenomenon of human beings.
Seeking God Early in the Morning (1987)
Seeking God Early in the Morning (1987)
According to this view, human beings are perhaps the meaning of life on earth, but few could awake to this self-realization. The greatest single epiphanic moment to any human being, so it is believed, would be to wake up to a higher existence in the Spiritual Homunculus of Goethe in Faust, for we all seem to be but incipient projects in the active operations of Mother Nature.
Following the observations of some Kantian idealists, human beings --in the history of intelligence and awareness-- could eventually develop their inner faculties to transcending the riddles of time and space.
Our Mind Is the Portal to Heaven
Following the observations of some Kantian idealists, human beings --in the history of intelligence and awareness-- could eventually develop their inner faculties to transcending the riddles of time and space.
Our Mind Is the Portal to Heaven
Therefore, according to these new Bergsonian ideas, Creative Evolution, our ideas of God, are often shrouded through the literal interpretation of the Holy Scriptures.
In some cases, our appreciation of that all-ness, that Universal Spirit of the Semitic people, Ein Sof, (/eɪn sɒf/, Hebrew: אין סוף), appears to be fragmented in the reflective mirrors of benighted polytheism and idolatry: the kaleidoscopic spiritual lenses of the heathen mind unschooled in the mysteries of Yahveh.
But a time would come when this revelation, this Allness behind creation, this noumena of Immanuel Kant (the thing-in-itself), the God of the Christian religion, would become a universal interconnectedness beyond the Asia Minor of the Hebraic people: a greater Universe beyond the outer reaches of the Iliad and the Odyssey of Homer.
Furthermore, our understanding of GOD, is always tinted by the immediate pervasive influences of our respective places, milieu, the lower vibration of our egos, quite often hindering us from any further accession to the high blessed realms of deities, potentates and powers.
At every age, therefore, we are tasked to re-appraising ourselves as though encased in capsules of individualities, lost wayfarers roaming this twilight of being at the mercy of deceptive forces, fleeting shades...mischievous figments luring us all into a web of dreams and bondage.
Added to these illusive forces haunting the profoundest chambers and sarcophagi of our minds (subconsciousness), few could set themselves free from the shackles of our tribal mentality: chauvinism, nationalism, religious fanaticism, racism, tribalism, egotism.
As observed by some mystics, the matrix of civilization, at times, could even hinder our spiritual evolution to a greater I am with Christ in the threshold of consciousness.
Worse, at times, the blind forces of fanaticism, like the dregs of a stagnant pond, are simply deeply seated in the unconscious recesses of our mind. Purging ourselves from these noxious psychological sediments --these lower particles of egotism and selfishness-- could be the greatest task for any human being in this life.
Our goal is perhaps to vacate this physical body for a greater hereafter with Light, Purity, Love, Transcendence
In some cases, our appreciation of that all-ness, that Universal Spirit of the Semitic people, Ein Sof, (/eɪn sɒf/, Hebrew: אין סוף), appears to be fragmented in the reflective mirrors of benighted polytheism and idolatry: the kaleidoscopic spiritual lenses of the heathen mind unschooled in the mysteries of Yahveh.
But a time would come when this revelation, this Allness behind creation, this noumena of Immanuel Kant (the thing-in-itself), the God of the Christian religion, would become a universal interconnectedness beyond the Asia Minor of the Hebraic people: a greater Universe beyond the outer reaches of the Iliad and the Odyssey of Homer.
Furthermore, our understanding of GOD, is always tinted by the immediate pervasive influences of our respective places, milieu, the lower vibration of our egos, quite often hindering us from any further accession to the high blessed realms of deities, potentates and powers.
At every age, therefore, we are tasked to re-appraising ourselves as though encased in capsules of individualities, lost wayfarers roaming this twilight of being at the mercy of deceptive forces, fleeting shades...mischievous figments luring us all into a web of dreams and bondage.
Added to these illusive forces haunting the profoundest chambers and sarcophagi of our minds (subconsciousness), few could set themselves free from the shackles of our tribal mentality: chauvinism, nationalism, religious fanaticism, racism, tribalism, egotism.
As observed by some mystics, the matrix of civilization, at times, could even hinder our spiritual evolution to a greater I am with Christ in the threshold of consciousness.
Worse, at times, the blind forces of fanaticism, like the dregs of a stagnant pond, are simply deeply seated in the unconscious recesses of our mind. Purging ourselves from these noxious psychological sediments --these lower particles of egotism and selfishness-- could be the greatest task for any human being in this life.
Our goal is perhaps to vacate this physical body for a greater hereafter with Light, Purity, Love, Transcendence
However respectful of any religious organizations, something within us seems to resist any conformity, any category, any long-lasting passivity, any standstill in the stagnant water of religious inertia (fanaticism). After all, there is a kernel of truth in the notion that evolution is akin to movement, sinuosity, activity and action. Nothing is stagnant, but everything seems to flow in a universe that is always activated by this eternal principle: God.
Good news is that perhaps underlying our metaphysical needs, regardless of religious denomination, there is to be found an inner yearning, "a burning feverish desire," which could only be satisfied through the spiritual mana of some deity (God), an all-embracing Spirit, behind the phenomena of the visible world.
Good news is that perhaps underlying our metaphysical needs, regardless of religious denomination, there is to be found an inner yearning, "a burning feverish desire," which could only be satisfied through the spiritual mana of some deity (God), an all-embracing Spirit, behind the phenomena of the visible world.
Are We Alone in the Universe?
A peasant man from Switzerland, Billy Meier, claimed to have been contacted by extraterrestrial people from the Constellation of the Pleiades. In Peru, Latin America, renown ufologist, Sixto Paz, would gather an enthusiastic crowd for some "serious rendezvous" with brothers from outer space.
Day and night, after much fasting, purification and vigils, the devout crowd would patiently scan the heavens for any signs of celestial vehicles, as perhaps the visitation of "hermanos espaciales"
Speaking of cosmology, the electronic paraphernalia of Michel could well vie for cutting-edge technology with the electronic equipment of any astronomer in the Hubble Observatory.
His super-attended concerts in Europe, often frowned-upon by the amazing scale of his lightning gears, laser rays and other strange instruments, would require much electrical powers and a retinue of engineers, scientists and politicians.
Once everything is set in place, the wizard of EM would plug his synthesizers for a transcendent music (Trance-Music) akin to a voyage into the celestial shores of other planets.
Let us hope that, perhaps in the flight of days, another genius of this magnitude would carry on the evolution of Music and Aesthetic through the wizardry of technology --another Alexander Scriabin!
A peasant man from Switzerland, Billy Meier, claimed to have been contacted by extraterrestrial people from the Constellation of the Pleiades. In Peru, Latin America, renown ufologist, Sixto Paz, would gather an enthusiastic crowd for some "serious rendezvous" with brothers from outer space.
Day and night, after much fasting, purification and vigils, the devout crowd would patiently scan the heavens for any signs of celestial vehicles, as perhaps the visitation of "hermanos espaciales"
Speaking of cosmology, the electronic paraphernalia of Michel could well vie for cutting-edge technology with the electronic equipment of any astronomer in the Hubble Observatory.
His super-attended concerts in Europe, often frowned-upon by the amazing scale of his lightning gears, laser rays and other strange instruments, would require much electrical powers and a retinue of engineers, scientists and politicians.
Once everything is set in place, the wizard of EM would plug his synthesizers for a transcendent music (Trance-Music) akin to a voyage into the celestial shores of other planets.
Let us hope that, perhaps in the flight of days, another genius of this magnitude would carry on the evolution of Music and Aesthetic through the wizardry of technology --another Alexander Scriabin!
Sebastian Teir, Setting Ourselves Free From The Electronic Tugs of the Rhythmic Patterns: the Antimatter of Synthesists! 0
https://m.youtube.com/watch?v=cH2guTTyX8s
Scientist Sebastian Teir, a.k.a, Kebu, is definitely a genius of electronic music. He has been able to mutate or change rhythmic patterns, on and off, without losing the "underlying synthesis" of his thematic development.
German Schallwelle Music Awards, 9th place in the category for "Best international album".
For years, most synthesists, even the most respected authorities in the field of dance music, have not been able to break away from the "shackle of the rhythmic patterns," and this setback, this "recurrent loop," has been the main reason why most serious critics tend demote the reputation of electronic music --"no better than kitsch art in the ethos of the 70s"-- as not comparable to the unearthly atonal series of composers the likes of Schoenberg and Berg, the forefathers of otherworldly music.
With the seeming unlimitedness, immeasurable potency of the synthesizer, some composers could even stretch farther, and even beyond the "boundaries of the chromatic scale" to the outermost reaches of sound itself.
Jiving into Wagnerian realms of electronic infatuations, as propelled by the compelling power of stable patterns of EM, would require much imagination, dedication, total understanding of the craft and discipline.
Most avant-garde synthesists, unfortunately, seem to lack the so-much desired Mozartian thematic development, as requisite for any serious work of art deserving the high merit of musical elaboration on the heels of classical composers. For the most part, electronic musicians rarely, if ever, could set us free from the "the prison-cell of the looping patterns."
How to set our mind free from the loophole of the patterns?
It is, nonetheless, praiseworthy the remarkable versatility of the synths (kinetic sounds) constantly transmuting themselves in the rich tapestry and morphology of electronic music. Sounds are constantly morphing themselves into new synths and analogs!
Through such electronic music, however suffused with an underlying pad, ethereal, cosmic and expansive, one may fancy to hear the luring baffling sounds of waters splashing or gurgling, birds chirping or warbling, winds wailing or howling, and other uncanny rumbling phenomena in the sublime orchestra of Mother Nature.
Kebu performance & interview in Min Morgon:
https://m.youtube.com/watch?v=6PVQ7AlSgXQ
Accordingly, the power of the synthesizer to producing a juggernaut of cascading thundering sounds, "a tantivy of deafining falling waters," of lightning bolts and thunders, may find their daunting echoes in this ineffable electronic music that is beyond the capacity of any non-electronic musical instrument (with the exception of the pipe organ, the king of all instruments).
Such frightening music would require a mind capable of scaling the unfathomable depth of our microcosmos, but also, a self-willed mind, able to break away from the "intoxicating spellbound of patterns."
All these self-indulgences, ever-explosive, ever-becalming ourselves through "gentlest hushes of fizzles and simmers," however delightfully creepy, may soon touch the unplumbed depths of silence or chaos...but orderly kept together in the riveting power of RP (Rhythmic Patterns) --the antimatter of synthesists!
Indeed, electronic music, with the finesse of orchestra music but agreeably marked with stable rhythmic patterns, is like finding nuggets of gold in an abandoned field. Very few people have been able to jive well in the kinetic sounds of electronic music:
Jean Michel Jarre - Oxygene 4:
https://m.youtube.com/watch?v=P_I2ch8_TXc
Out of one thousand experiments, and for more than 47 years, we could probably count the few ingenious minds who have been able to come out with something praiseworthy.
Some composers do start with a "wonderful overture," but the "comic side" of some electronic music, with those droll-sounding notes, often verging on the "burlesque and grotesque," may suffer the riveting conception as lacking the seriousness of classical music in the fine philosophic mind of some one like Wagner or Carl Orff.
Electronic music, like metaphysics, unfortunately, has suffered all sorts of distortions, hoaxes, charlatanism; hence, it has generally been degraded as something inferior to the rich organic music of classical composers.
In some exceptional cases, I may disagree. The challenge of electronic music is that it would require a brilliant mind alike ingenious and original (e.g. Tomita or Jean Michel Jarre). Of course, making electronic music of high quality is expensive:
Isao Tomita - Arabesque No. 1:
https://m.youtube.com/watch?v=igHOaMOzzUo
Reducing electronic devices for the convenience of space and practicality, at least in the production of musical instruments, has increasingly compromised the "thickness of timbre" as not always conforming to the physics of reduction (quantum physics) without losing some admirable properties. Like the stringboard of a piano instrument, the pitch seems to be kindred, nay, congenial and natural, but to the specific thickness of its "ideal numbered string-registration."
In like similitude, our modern synthesizers, though admirably designed in the cutting-edge era of digitation and the "magic of sensitive screen," through much reduction, have lost much of that organic quality so peculiar to the music of the 70s.
As has been observed, the miniaturization of synthesizers (microchips and transistors) may affect the fat-quality of the Synth-Sound, like LP magnetic devices vs the invention of the CD, often losing the uncanny acoustic (purity, baffling reverberation, haunting echoes) in the phenomena of natural "airborne waves" reaching our earholes:
Added to an astonishing proliferation of composers with scanty knowledge and resources on the field of EM, there is also much dishonesty in the production and manufacturing of derivative synthesizers (analogue) laking organic sounds as those of the Moog synthesizer.
The Japanese people, however industrious, have inundated us with cheap keyboards, "whooshing-sounding-fading," for the most part receiving the tacit approval of the dilettante with appalling credulity. Without any control in the profitability of everything goes with reckless consumption, the inexpert consumer would just embrace the electronic thing believing he or she has made a fine purchase: croak! croak! croak! Duh! Have I wit?
These little keyboards are then sold in USA like the finest digitation of the ingenious asiatic mind, and even enthusiastically accepted in equal standing with the Moog synthesizer. This is really the biggest fraud of all time. The French people just laugh at our gullibility. Are you kidding?
Claude Denjean - Na Na Hey Hey Kiss Him Goodbye - Moog! - 1971
https://m.youtube.com/watch?v=HAzRDlH_pk8
Claude Denjean, Canadian synthesist, a genius of electronic music, is as to-day, a very obscure composer-arranger in USA.
Unlike Jean Michel Jarre, Denjean's electronic music is less sequential in monotonous patterns, loop and recurrent motifs. If you listen to Oxygen 1V, or Equinoxe V, we are forthwith delighted in much agreement with Michel, but the cosmic music, however exciting in something promising, is carried on and on, and forever and ever, in the same progression, nay, enchained in the same RP, and finally back to the tonic-key.
Bach, Rachmaninoff and Debussy, would have not tolerated this Pop-monotony and A-B formula (tedious repetitions), but there are great merits in the remarkable magic-power of electronic music: melodic-harmonic phrasing through very stable rhythmic beats.
Fortunately, today, more than in the decade of the 90s, there is a revival of electronic music, and we would like to inquire on the underlying causes that hampered its progress apace with the strides of science: reckless consumerism, dilettantism, and rampant abuses of this most serious of field in the sounds of the future.
Jean Michel Jarre, Oxygene:
Oxygene 1:
http://www.youtube.com/watch?v=I5IyGuZA5yw
Plumb your mind's depth in the frighteningly sublime music of Jean Michel Jarre, "Oxygen." It is the Cosmogony of Immanuel Kant, or, perhaps, it is the Will-To-Exist of Schopenhauer in the phenomena of being through electronic music and consciousness.
If we could believe in other worlds and Aliens, it would probably be accessible through this mysterious music. Some people are indeed evolving, whereas others are devolving in the nadir of hellish peals: post-modern Nihilism.
Electronic music of this daunting profundity, however simple in technical execution, could wake dormant faculties in our mind.
Let the ever-fluctuating minor modes and ever-rolling explosive notes dash and ripple in your sense's rim of self-awareness.
Little by little, you will deeply feel that you are part of a greater whole; and yet, there is also, likewise, a levitating sense of freedom from the fetters of time and space.
If you could think, either awake from the illusion of this phantasmagoria, the Matrix of Our Senses, or, compellingly stirred up by these transmuting harmonies, you may, then, be able to set foot in the threshold-philosophy of Immanuel Kant's world; and a higher reality would strike you as being not really confined to this fleeting dream of existence, but a rapt spectator in the contemplation of that All-Converging Point (Is This Point The God Of Dante Alighieri?), whence the centrifugal forces of that X may interweave and set into motion these sinuous, myriads unfolding shades and fleeting shapes we narrowly hold as the only province of this visible universe --Cosmos.
But beyond this visibility and Phenomenology of Hegel, there are the other reverberating echoes, verily, rebounding and bouncing off from the bottomless depth of uncreated consciousness: the will-net-work of Schopenhauer's The World as Will and Idea! Is this Will beyond Good and Evil?
Is this music even beyond Nietzsche's decree that god is dead? Is not that god but an immortal truth wafting and gliding in the realm of grandest contemplation: to evolve in the assimilation of superior models, archetypes and prototypes in the mind-boundless realm of some unknown Divine Intelligence?
Could it be a Breath of Being whereat the very dint of reason would say: "please no more?...." But even there you may still say like The Will-O'-The-Wisp: --I am, still imperishable...!
What a Feeling! Giorgio Moroder and the Disco Era In USA (70s and 80s)
What a Feeling, singer Irene Cara:
http://www.youtube.com/watch?v=ILWSp0m9G2U
The superior quality of the Feeling-Music comes from two decades of Techno music in Europe. Some European geniuses moved to USA in the 70s, and the rest is history. Compare the inferior music of latter-days composers in USA. Sir Giorgio Moroder not only could play a keyboard with great precision and stable patterns, which even kids could do as well, but he had at his command, an in-depth understanding on the science of sound-waves, timbre, wave-length, percussion-action and acoustic at the level of fine organists and physicists.
Listen to the Base-Line in "What a Feeling," it is really a wonder, because the regal and majestic Low-Bass seems to partake of both the string-glissando and the percussion-touch --like the strings of a bass-guitar, sometimes strummed, sometimes plucked with a tad-percussion touch. Therefore, we cannot assert with certainty, that is to say, through mere attentive listening, whether he is playing a keyboard or a keyboard-guitar?
Like Jean Michel Jarre, Mr. Moroder is also a master of sound distortion and dissolution, dissolving and blending the Synth-Sounds into one another amidst baffling motley effects of chromaticism, glissandos, percussion and dashing waves --explosive notes-- thus achieving a most compelling, moving and dramatic development of the feeling-song...
Irene Cara in Australia:
http://www.youtube.com/watch?v=ba309hHIrwI
Italy, Viva Roma! has influenced our western civilization in so many areas. In Europe, musicians the likes of Mozart (Mass in C minor) Chopin (Nocturnes) Bach (Air on the G Strings), Beethoven and many other great masters, learned from the Italians how to bring our emotions to a higher pitch with the incomparable beauty of the Italian Opera, "bel canto," the cantabile," where a supreme melody-line leads above the counter-point and the bass-accompaniment.
In USA, some of the most beautiful Pop-songs were composed by people of Italian descent. Few people know that What a Feeling, from the movie-soundtrack Flash-dance, was composed by an Italian composer, Giorgio Moroder!
True, Irene Cara sings beautiful, but even more beautiful with the exquisite taste of the Italian melody.
Electronic Music of the stunning beauty of What a Feeling, took some time to evolve. One can hear the Influence of the French composer Jean Michel Jarre, Oxygen, Equinox, and the Techno-music of the Scandinavian people permeating the Pop music of USA in the early 80s.
When a composition has a rich melody line, and some-one like Giorgio Moroder or Claude Denjean could add the lush, rich quality of former synthesizers with thick timbers as those of the Moog, mellifluous voices, rhythmic patterns, the result is a new music, a riveting experience which could prove to be very emotionally compelling, exhilarating and intoxicating!
Few unorthodox minds would admit that the Feeling-Music is so good simply because it is electronic; but as to-day, the nostalgic pop-feelings of the 80s haunt my soul. And as the 80s recede more and more in my expansive past, the dolce and feminine voice of Irene Cara seems to reverberate the more beautiful with very nostalgic echoes, sighs and longing: not only we strike kindred with the echoes of a tried soul, a black woman who knew of discrimination, and finally achieving fame through the sole merit of her gifted voice, but in her deep feelings, longings and singing, we may also seem to hear our own personal struggles and high-flown dreams in this brief existence.
Your Humble Servant,
Eddie Beato
https://m.youtube.com/watch?v=cH2guTTyX8s
Scientist Sebastian Teir, a.k.a, Kebu, is definitely a genius of electronic music. He has been able to mutate or change rhythmic patterns, on and off, without losing the "underlying synthesis" of his thematic development.
German Schallwelle Music Awards, 9th place in the category for "Best international album".
For years, most synthesists, even the most respected authorities in the field of dance music, have not been able to break away from the "shackle of the rhythmic patterns," and this setback, this "recurrent loop," has been the main reason why most serious critics tend demote the reputation of electronic music --"no better than kitsch art in the ethos of the 70s"-- as not comparable to the unearthly atonal series of composers the likes of Schoenberg and Berg, the forefathers of otherworldly music.
With the seeming unlimitedness, immeasurable potency of the synthesizer, some composers could even stretch farther, and even beyond the "boundaries of the chromatic scale" to the outermost reaches of sound itself.
Jiving into Wagnerian realms of electronic infatuations, as propelled by the compelling power of stable patterns of EM, would require much imagination, dedication, total understanding of the craft and discipline.
Most avant-garde synthesists, unfortunately, seem to lack the so-much desired Mozartian thematic development, as requisite for any serious work of art deserving the high merit of musical elaboration on the heels of classical composers. For the most part, electronic musicians rarely, if ever, could set us free from the "the prison-cell of the looping patterns."
How to set our mind free from the loophole of the patterns?
It is, nonetheless, praiseworthy the remarkable versatility of the synths (kinetic sounds) constantly transmuting themselves in the rich tapestry and morphology of electronic music. Sounds are constantly morphing themselves into new synths and analogs!
Through such electronic music, however suffused with an underlying pad, ethereal, cosmic and expansive, one may fancy to hear the luring baffling sounds of waters splashing or gurgling, birds chirping or warbling, winds wailing or howling, and other uncanny rumbling phenomena in the sublime orchestra of Mother Nature.
Kebu performance & interview in Min Morgon:
https://m.youtube.com/watch?v=6PVQ7AlSgXQ
Accordingly, the power of the synthesizer to producing a juggernaut of cascading thundering sounds, "a tantivy of deafining falling waters," of lightning bolts and thunders, may find their daunting echoes in this ineffable electronic music that is beyond the capacity of any non-electronic musical instrument (with the exception of the pipe organ, the king of all instruments).
Such frightening music would require a mind capable of scaling the unfathomable depth of our microcosmos, but also, a self-willed mind, able to break away from the "intoxicating spellbound of patterns."
All these self-indulgences, ever-explosive, ever-becalming ourselves through "gentlest hushes of fizzles and simmers," however delightfully creepy, may soon touch the unplumbed depths of silence or chaos...but orderly kept together in the riveting power of RP (Rhythmic Patterns) --the antimatter of synthesists!
Indeed, electronic music, with the finesse of orchestra music but agreeably marked with stable rhythmic patterns, is like finding nuggets of gold in an abandoned field. Very few people have been able to jive well in the kinetic sounds of electronic music:
Jean Michel Jarre - Oxygene 4:
https://m.youtube.com/watch?v=P_I2ch8_TXc
Out of one thousand experiments, and for more than 47 years, we could probably count the few ingenious minds who have been able to come out with something praiseworthy.
Some composers do start with a "wonderful overture," but the "comic side" of some electronic music, with those droll-sounding notes, often verging on the "burlesque and grotesque," may suffer the riveting conception as lacking the seriousness of classical music in the fine philosophic mind of some one like Wagner or Carl Orff.
Electronic music, like metaphysics, unfortunately, has suffered all sorts of distortions, hoaxes, charlatanism; hence, it has generally been degraded as something inferior to the rich organic music of classical composers.
In some exceptional cases, I may disagree. The challenge of electronic music is that it would require a brilliant mind alike ingenious and original (e.g. Tomita or Jean Michel Jarre). Of course, making electronic music of high quality is expensive:
Isao Tomita - Arabesque No. 1:
https://m.youtube.com/watch?v=igHOaMOzzUo
Reducing electronic devices for the convenience of space and practicality, at least in the production of musical instruments, has increasingly compromised the "thickness of timbre" as not always conforming to the physics of reduction (quantum physics) without losing some admirable properties. Like the stringboard of a piano instrument, the pitch seems to be kindred, nay, congenial and natural, but to the specific thickness of its "ideal numbered string-registration."
In like similitude, our modern synthesizers, though admirably designed in the cutting-edge era of digitation and the "magic of sensitive screen," through much reduction, have lost much of that organic quality so peculiar to the music of the 70s.
As has been observed, the miniaturization of synthesizers (microchips and transistors) may affect the fat-quality of the Synth-Sound, like LP magnetic devices vs the invention of the CD, often losing the uncanny acoustic (purity, baffling reverberation, haunting echoes) in the phenomena of natural "airborne waves" reaching our earholes:
Added to an astonishing proliferation of composers with scanty knowledge and resources on the field of EM, there is also much dishonesty in the production and manufacturing of derivative synthesizers (analogue) laking organic sounds as those of the Moog synthesizer.
The Japanese people, however industrious, have inundated us with cheap keyboards, "whooshing-sounding-fading," for the most part receiving the tacit approval of the dilettante with appalling credulity. Without any control in the profitability of everything goes with reckless consumption, the inexpert consumer would just embrace the electronic thing believing he or she has made a fine purchase: croak! croak! croak! Duh! Have I wit?
These little keyboards are then sold in USA like the finest digitation of the ingenious asiatic mind, and even enthusiastically accepted in equal standing with the Moog synthesizer. This is really the biggest fraud of all time. The French people just laugh at our gullibility. Are you kidding?
Claude Denjean - Na Na Hey Hey Kiss Him Goodbye - Moog! - 1971
https://m.youtube.com/watch?v=HAzRDlH_pk8
Claude Denjean, Canadian synthesist, a genius of electronic music, is as to-day, a very obscure composer-arranger in USA.
Unlike Jean Michel Jarre, Denjean's electronic music is less sequential in monotonous patterns, loop and recurrent motifs. If you listen to Oxygen 1V, or Equinoxe V, we are forthwith delighted in much agreement with Michel, but the cosmic music, however exciting in something promising, is carried on and on, and forever and ever, in the same progression, nay, enchained in the same RP, and finally back to the tonic-key.
Bach, Rachmaninoff and Debussy, would have not tolerated this Pop-monotony and A-B formula (tedious repetitions), but there are great merits in the remarkable magic-power of electronic music: melodic-harmonic phrasing through very stable rhythmic beats.
Fortunately, today, more than in the decade of the 90s, there is a revival of electronic music, and we would like to inquire on the underlying causes that hampered its progress apace with the strides of science: reckless consumerism, dilettantism, and rampant abuses of this most serious of field in the sounds of the future.
Jean Michel Jarre, Oxygene:
Oxygene 1:
http://www.youtube.com/watch?v=I5IyGuZA5yw
Plumb your mind's depth in the frighteningly sublime music of Jean Michel Jarre, "Oxygen." It is the Cosmogony of Immanuel Kant, or, perhaps, it is the Will-To-Exist of Schopenhauer in the phenomena of being through electronic music and consciousness.
If we could believe in other worlds and Aliens, it would probably be accessible through this mysterious music. Some people are indeed evolving, whereas others are devolving in the nadir of hellish peals: post-modern Nihilism.
Electronic music of this daunting profundity, however simple in technical execution, could wake dormant faculties in our mind.
Let the ever-fluctuating minor modes and ever-rolling explosive notes dash and ripple in your sense's rim of self-awareness.
Little by little, you will deeply feel that you are part of a greater whole; and yet, there is also, likewise, a levitating sense of freedom from the fetters of time and space.
If you could think, either awake from the illusion of this phantasmagoria, the Matrix of Our Senses, or, compellingly stirred up by these transmuting harmonies, you may, then, be able to set foot in the threshold-philosophy of Immanuel Kant's world; and a higher reality would strike you as being not really confined to this fleeting dream of existence, but a rapt spectator in the contemplation of that All-Converging Point (Is This Point The God Of Dante Alighieri?), whence the centrifugal forces of that X may interweave and set into motion these sinuous, myriads unfolding shades and fleeting shapes we narrowly hold as the only province of this visible universe --Cosmos.
But beyond this visibility and Phenomenology of Hegel, there are the other reverberating echoes, verily, rebounding and bouncing off from the bottomless depth of uncreated consciousness: the will-net-work of Schopenhauer's The World as Will and Idea! Is this Will beyond Good and Evil?
Is this music even beyond Nietzsche's decree that god is dead? Is not that god but an immortal truth wafting and gliding in the realm of grandest contemplation: to evolve in the assimilation of superior models, archetypes and prototypes in the mind-boundless realm of some unknown Divine Intelligence?
Could it be a Breath of Being whereat the very dint of reason would say: "please no more?...." But even there you may still say like The Will-O'-The-Wisp: --I am, still imperishable...!
What a Feeling! Giorgio Moroder and the Disco Era In USA (70s and 80s)
What a Feeling, singer Irene Cara:
http://www.youtube.com/watch?v=ILWSp0m9G2U
The superior quality of the Feeling-Music comes from two decades of Techno music in Europe. Some European geniuses moved to USA in the 70s, and the rest is history. Compare the inferior music of latter-days composers in USA. Sir Giorgio Moroder not only could play a keyboard with great precision and stable patterns, which even kids could do as well, but he had at his command, an in-depth understanding on the science of sound-waves, timbre, wave-length, percussion-action and acoustic at the level of fine organists and physicists.
Listen to the Base-Line in "What a Feeling," it is really a wonder, because the regal and majestic Low-Bass seems to partake of both the string-glissando and the percussion-touch --like the strings of a bass-guitar, sometimes strummed, sometimes plucked with a tad-percussion touch. Therefore, we cannot assert with certainty, that is to say, through mere attentive listening, whether he is playing a keyboard or a keyboard-guitar?
Like Jean Michel Jarre, Mr. Moroder is also a master of sound distortion and dissolution, dissolving and blending the Synth-Sounds into one another amidst baffling motley effects of chromaticism, glissandos, percussion and dashing waves --explosive notes-- thus achieving a most compelling, moving and dramatic development of the feeling-song...
Irene Cara in Australia:
http://www.youtube.com/watch?v=ba309hHIrwI
Italy, Viva Roma! has influenced our western civilization in so many areas. In Europe, musicians the likes of Mozart (Mass in C minor) Chopin (Nocturnes) Bach (Air on the G Strings), Beethoven and many other great masters, learned from the Italians how to bring our emotions to a higher pitch with the incomparable beauty of the Italian Opera, "bel canto," the cantabile," where a supreme melody-line leads above the counter-point and the bass-accompaniment.
In USA, some of the most beautiful Pop-songs were composed by people of Italian descent. Few people know that What a Feeling, from the movie-soundtrack Flash-dance, was composed by an Italian composer, Giorgio Moroder!
True, Irene Cara sings beautiful, but even more beautiful with the exquisite taste of the Italian melody.
Electronic Music of the stunning beauty of What a Feeling, took some time to evolve. One can hear the Influence of the French composer Jean Michel Jarre, Oxygen, Equinox, and the Techno-music of the Scandinavian people permeating the Pop music of USA in the early 80s.
When a composition has a rich melody line, and some-one like Giorgio Moroder or Claude Denjean could add the lush, rich quality of former synthesizers with thick timbers as those of the Moog, mellifluous voices, rhythmic patterns, the result is a new music, a riveting experience which could prove to be very emotionally compelling, exhilarating and intoxicating!
Few unorthodox minds would admit that the Feeling-Music is so good simply because it is electronic; but as to-day, the nostalgic pop-feelings of the 80s haunt my soul. And as the 80s recede more and more in my expansive past, the dolce and feminine voice of Irene Cara seems to reverberate the more beautiful with very nostalgic echoes, sighs and longing: not only we strike kindred with the echoes of a tried soul, a black woman who knew of discrimination, and finally achieving fame through the sole merit of her gifted voice, but in her deep feelings, longings and singing, we may also seem to hear our own personal struggles and high-flown dreams in this brief existence.
Your Humble Servant,
Eddie Beato